Just when you thought Martin Scorsese had no more surprises in his cinematic arsenal, he pulls out “Killers of the Flower Moon,” an absorbing “midwestern” that shows just how compelling a great director can be.
Detailing the way outsiders preyed on the Osage Nation at the turn of the 20th century, the sprawling (three hours and 26 minutes) film wrings out moments that will remind you of other great directors – a little “Godfather” here, a little “Giant” there and a whole lot of Scorsese everywhere.
It shows how seemingly friendly white residents took advantage of the Osage when oil made them extremely wealthy overnight. Buying expensive cars, hiring maids, and dabbling in leisure activities, the Osage were the new “chosen” people. Scorsese uses newsreel footage to tell the story (note the source), then introduces a “war hero” into the nouveau riche world. He’s Ernest Burkhart (Leonardo DiCaprio), the nephew of William Hale (Robert De Niro), a wealthy landowner who details the “opportunity” that lies in the oil-rich community.
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Quickly, Burkhart absorbs what his uncle has to impart: White men marrying Native women can benefit financially and can enjoy relatively stress-free lives. The young man – who scowls repeatedly and insists he’s not “thick” – serves as a driver for the Osage. He meets a stoic woman, Mollie (Lily Gladstone), and expresses affection. The two marry, but there are still questions – questions about mysterious deaths that envelop the territory. Mollie’s no stranger to the sorrow, losing sisters and friends to the killer. But what’s afoot?
Scorsese doesn’t hold back but he does play his cards judiciously. When locals are told “melancholy” and diabetes are the culprits, most are accepting. Still, there’s something more to ponder.
Suicide isn’t necessarily the great killer; “helpers” aren’t always supportive.
When Mollie's diabetes worsens, Hale gets her insulin, which she insists her husband administer.
Mollie’s condition doesn’t improve, which sets off alarms and begins the great unravel.
While DiCaprio gives one of his best performances as the willing pawn, Gladstone provides the film’s heart – and makes their situation the ultimate tragedy. De Niro offers something new, too, playing Hale like he’s James Whitmore in “Give ‘em Hell, Harry.” He’s a godfather of a different sort, making offers others should refuse.
Just when you think the story is closing in, Scorsese cracks it open and introduces a who’s who of actors as lawyers, agents and politicians.
While Jesse Plemons (as an agent investigating the murders) is quickly becoming his generation’s Ben Johnson, “Flower Moon” blossoms with Native performances that are equally powerful. William Belleau is heartbreaking as Mollie’s brother-in-law; Tantoo Cardinal is forceful as her mother.
Even singer Jason Isbell makes a strong impression in a key supporting role.
When the story moves into the courtroom, DiCaprio gets his awards moments. De Niro deserves attention, too. But it’s the last-minute surprise that Scorsese offers that will make you realize he’s still in the thick of it, willing to demonstrate motion pictures can conjure a rainbow of emotions and leave an indelible impression.
Even better, “Killers of the Flower Moon” takes advantage of its setting, making those Oklahoma landscapes look as inviting as the oil that drew opportunists to the Osage.
Easily one of the best films of the year, “Flower Moon” should prompt debate about a host of issues. Undeniable, though, is the power of its director. He’s in a class by himself.