Killers of the Flower Moon – Film Review
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Video Transcript
“Killers of the Flower Moon,” directed by Martin Scorsese and set for release in 2023, was one of the year’s most anticipated films, outside of the “Barbenheimer” phenomenon. Based on the book of the same title by David Grann, the movie delves into the disturbing real-life events that unfolded among the Osage people following the discovery of oil on their land. The narrative revolves around the murders of the Osage people, driven by a sinister quest to control the wealth generated by the newfound oil. The film features Martin Scorsese’s longstanding collaborators, Leonardo DiCaprio and Robert De Niro, but the breakout performance comes from newcomer Lily Gladstone.
The development of the film has been a lengthy process, starting in 2016, with significant changes to both the script and production studios. Leonardo DiCaprio, also serving as an executive producer, played a crucial role in reshaping the script. The initial shift from a classic crime courtroom procedural drama to a narrative centered on the Osage people was prompted by DiCaprio’s challenge to find the heart of the film. This change, while risky, offers a unique perspective, bringing depth and humanity to the Osage people, enhancing the impact of the tragic events that unfold.
Scorsese’s commitment to authenticity is evident in his collaboration with the Osage community. The majority of the Osage actors in the film are members of the Osage Nation, contributing to the film’s genuine portrayal of their traditions and way of life. Scenes that may not conventionally drive the plot forward provide insight into the Osage people’s lives, showcasing their traditions from birth to death. This approach, although unconventional, adds authenticity and richness to the narrative. It should be noted, however, that this is yet another example of Indigenous trauma being used to make money for primarily non-Indigenous folks. I’m hopeful that in the near future, we will see more films emphasizing Indigenous beauty and strength told from an Indigenous point of view.
The film’s dialogue is a combination of Scorsese’s script and improvisation from the actors, particularly notable in Leonardo DiCaprio’s consistent and effective improvisational contributions. The first conversation between Ernest and Molly, his wife, is a powerful example of this, where DiCaprio’s spontaneous additions make it into the final cut – you can even see Lily Gladstone’s natural laugh in response. Additionally, an impactful moment during an Osage gathering emerged organically when Scorsese overheard a community leader’s discussion about the impact of the white man. This unscripted dialogue provides an authentic glimpse into the Osage people’s sentiments.
The brilliance of the script lies in its continuity and the connections between seemingly inconspicuous dialogues early in the film, which gain significance later. Without delving into spoilers, recurring phrases like “sickly” take on different meanings as the narrative progresses, showcasing the script’s intricacy. Despite the film’s nearly three-and-a-half-hour runtime, the pacing effectively builds tension, transitioning from a slow burn to more heightened moments when necessary.
The performances in “Killers of the Flower Moon” are nothing short of exceptional. Leonardo DiCaprio portrays Ernest Burkhart with a nuanced depth, embodying the character’s vulnerability and susceptibility to manipulation. Robert De Niro’s portrayal of a man of power, subtly manipulating every scene he is in, adds to the film’s engaging atmosphere. However, the standout performance comes from Lily Gladstone, who, despite her “supporting” role, is the heart and backbone of the film. Her ability to convey depth and emotion through subtle expressions makes her a strong contender for the Best Actress category. There have been criticisms regarding her inclusion in the Best Actress category, but this is really her film. She is the one character we find ourselves rooting for, and she is the one character that provides hope that we so desperately seek.
Rodrigo Prieto’s cinematography captures the beauty of the landscape and nature using wide anamorphic lenses, emphasizing the Osage people’s connection to the land. The juxtaposition between this beauty and the violence depicted in the film is skillfully highlighted through shadow and light.
Robbie Robertson’s haunting guitar strings in the score contribute to the film’s atmosphere, gradually enveloping the audience, mirroring the creeping menace faced by the Osage people. As a long-time collaborator of Scorsese, this is an apt final score for Robertson, and his instrumentation will be greatly missed in the world of cinema.
The film’s third act reverts to a more traditional crime courtroom procedural drama, and while this may resonate with some viewers, it was the least effective subplot for me. Nevertheless, surprise appearances from notable actors add an additional layer of intrigue to the final act.
