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Martin Scorsese’s latest film is a sprawling, historical epic that is huge in scale yet intimate with its storytelling and effect on the audience. A staggering, monumental piece of cinema that examines the American dream, exploitation, and the erasure of the Osage culture. 

Killers of the Flower Moon was not always going to end up the same film released later this week as initially Martin Scorsese was going to make a film based more on the criminal investigation and trial of the murders of Osage Native Americans in Oklahoma known as the ‘Reign of Terror.’ Upon meeting with the Osage community, Scorsese wanted to ensure the film was more focused on the Osage community, the victims of the crimes, and how their culture was exploited and almost erased by the greed of white men. While there has rightfully so been conversation in regard to a white director and writers telling this story, Scorsese operates on a level like no other director and delivers one of his best films to date and with the Osage community serving as advisors, including Osage Nation chief Geoffrey Standing Bear, the care, thoughtfulness, and respect are clear from start to the powerful, heart wrenching finish. 

World War I Veteran Ernest Burkhart (Leonardo DiCaprio), straight off the train, arrives at his uncle William “King” Hale’s (Robert De Niro) cattle ranch in Fairfax, Oklahoma. King has been living in Osage Country for quite some time, as he speaks the language and holds a respectful status within the community. He immediately welcomes Ernest into his home and asks him if he likes women; Ernest can’t help himself and tells him how he loves all kinds of women, unaware his uncle has a plan already in motion for him to marry an Osage woman. William sets up his nephew with a job driving a taxi in town and by chance Ernest begins chauffeuring Mollie (Lily Gladstone) on a regular basis. William nudges Ernest in the direction of not only courtship, but marriage with the young Osage woman. Mollie jokes with her sisters about Ernest’s quite obvious intentions as she knows the white men in town marry Osage women, but she falls for him despite knowing his plans. Whether or not Ernest truly returns Mollie’s feelings or is a malicious, complicit accomplice in his uncle’s plans is something you’re left contemplating throughout the film.

The Osage families might own the mineral rights and hold the wealth in their communities, they lack the freedom to exercise true power as the government requires the Osage to have ‘guardians’ to access their own money. Because of this set up, many white men have started marrying Osage women to gain true ownership of the Osage wealth. Two of Mollie’s sisters are married to white men, so it’s no scandal when Mollie begins her relationship with Ernest, but her mother is deeply upset by her daughters marrying white men. While I do believe Scorsese and co-writer Eric Roth spend some time trying to show a real love between Ernest and Mollie, it’s hard to ever digest and see Ernest truly in love with her given that the writers have flipped the telling of the story compared to the source material. In the non-fiction book of the same name, the true story is unfolding as a whodunnit. Whereas in the film adaptation, audiences are clued in on Ernest and his uncle’s involvement in the murders from the start. It’s obvious in Killers of the Flower Moon that William is manipulating Ernest into participating in setting up Mollie’s family, however, we see Ernest robbing Osage families of their jewelry and money to go gambling. Ernest is never portrayed as innocent and it’s hard to see this as a love story knowing his true self as he is silent and complicit throughout the film. 

The introduction of the white man’s diet, including sugar, brought disease into Osage nation, specifically diabetes, which is a near death sentence in these times. Mollie is battling diabetes herself and she’s even told by her (white) doctors at one point she could die if she continues to ‘live by the white man’s diet.’ Killers of the Flower Moon follows as we see William uplifted by the Osage people yet he’s working hand in hand with the white men with the power to lead to the Osage genocide as doctors refuse to provide real care, the police don’t begin investigations into deaths, and coroners don’t conduct autopsies. Killers of the Flower Moon is such a staggering film as it shows us the greed that led to mass murder the Osage nation. While William and Ernest get caught in the film, countless other white intruders in indigenous communities were just as guilty. 

The performances in Killers of the Flower Moon are a sight to be seen. DiCaprio has maybe never been better as Ernest, the man without a backbone (and perhaps a brain). He’s effortless as he glides between downright complicitly evil and dimwitted as he nods to any request by his uncle. DiCaprio has such vivid material to work with and it’s so apparent why he really delivers one of his best performances here. De Niro is a cunning, malevolent presence. He’s haunting and terrifying as he is putting on a front to deceive the Osage he repeatedly swears to stand by. Jesse Plemons, portraying a federal investigator, may only be in the last third of the film, but delivers a stern, yet powerful performance of a man just doing his job and committed to the truth unlike any other white man on screen here. 

The emotional core of the film is Gladstone, who delivers a devastating, powerful performance. Her portrayal of Mollie is raw and risky; it’s so layered as she narrates the film and details her anger and fear over the violence that surrounds her. Every second Gladstone is on screen she has such a tremendous presence that you’re left desperate for more of her. While the film does offer her perspective at times, Killers of the Flower Moon the internal battle within Ernest is the main thread throughout the film. Mollie, her family, and the erasure of the Osage nation are part of the story unfolding on screen, but not the lenses through which it’s told. While Scorsese may have not been the filmmaker to explore telling a story through the point of view of the Osage people, the film shifts to the perspective of white punishment and even white guilt. Mollie’s perspective is not only more important but would provide a more cinematic throughline.

Killers of the Flower Moon is one of the most meticulously crafted films of the year. The legendary Thelma Schoonmaker stitches together the masterful work of Scorsese while retaining his sharp hand and grand vision. Robbie Robertson’s rustling score transports audiences to Fairfax, Oklahoma yet is a fresh Western score you’ve never heard before. Scorsese proves, yet again, that he operates on a level like no other director working today. The violence is shown in a manner that is not exploitive, but it’s used only to show the wreckage of the white men at the center of his film. Scorsese is a master of utilizing violence only to show the true nature of men. His visceral film is a masterclass of large in scale but intimate with its storytelling. 

The final moments of Killers of the Flower Moon transcend the film from a sprawling epic Western to a monumental piece of cinema. Scorsese innovates and delivers a modern ending that is self-aware of the moral responsibility of telling the story of the ‘Reign of Terror’ the Osage nation endured as a form of entertainment. While there is a rightful discussion of an indigenous filmmaker telling this story, and perhaps this would have allowed Mollie to be the center of the film, the passion Scorsese has for cinema and to ask his audience to expand our expectations of what art should say is unmatched. 

Grade: A-

Oscars Prospects:
Likely: Best Picture, Best Director, Best Lead Actor (Leonardo DiCaprio), Best Lead Actress (Lily Gladstone), Best Supporting Actor (Robert De Niro), Best Adapted Screenplay, Best Film Editing, Best Cinematography, Best Original Score, Best Costume Design, Best Production Design
Should be Considered: Best Supporting Actor (Jesse Plemons), Best Sound

Release Date: October 20, 2023
Where to Watch: In Theaters