Leonardo DiCaprio, Robert De Niro, and director Martin Scorsese come together for the first time ever on film in “Killers of the Flower Moon,” and the results are something that deserves strong Oscar consideration.
The three talents pull their collective cinematic weights to deliver an ambitious, sprawling, brutal, and uncompromising undertaking that is three and a half hours long but keeps a commanding hold on our attention every step of the way.
Based on the novel of the same name by David Grann, Scorsese gives us a story about a corner of American history that has been sadly overlooked.
DiCaprio stars as Ernest Burkhart, a World War I vet returning home to the Osage nation in Oklahoma. Ernest has lost the ability to do any physical labor due to the war. De Niro is his uncle, William Hale, a local businessman who wants to recruit him for his latest venture.
On the lands known as the Flower Moon, the Osage tribe has recently discovered oil, and Hale wants a part of it. He sends Ernest undercover to get close to one of the members of the tribe, Mollie (Lily Gladstone). Ernest and Mollie begin a relationship that sucks each of them into the other’s intricate web: Ernest learns more about the ways of the Osage while Mollie falls deeper and deeper in love with someone not of her own race.
A series of brutal murders occur to the Osage by whites who are determined to steal their wealth. Ernest continues to go along with his uncle’s plans while Mollie, in a move of desperation, reaches out to the Bureau of Investigation for help. She’s also battling a severe case of diabetes.
The movie is structured in a masterstroke of genius by Scorsese to show us the hows and whys of both sides of this enormous conflict. However, those hows and whys are further complicated by the many parties that get involved, which may or may not have some bearing on whether there will be any recourse of justice for the Osage or if the murderers will be able to continue their wrath.
DiCaprio and De Niro deliver powerhouse performances, and Scorsese delivers sharp, solid direction in every frame, but the real gem is Lily Gladstone. She crafts a performance that is revelatory. She’s not afraid to be fierce and protective of her people, but she’s also not afraid to show vulnerability when the moments call for it.
In addition to Scorsese and the trifecta of outstanding work in front of the camera, the look and feel of this movie are absolutely breathtaking. Cinematographer Rodrigo Prieto showcases early 20th-century America in a sweeping style that adds weight to the story. Jack Fisk’s production design is sensational by giving us a convincing, beautiful, and atmospheric world that is brimming with believability. Scorsese’s longtime editor Thelma Schoonmaker cuts the action to keep it expertly paced and never lets a single shot get bogged down, but rather keeps it a hypnotizing experience.
Praise for the technical craftsmanship, the stellar performances, and the remarkable direction aside, make no mistake about it: This is a story that serves as an epic cautionary tale. It’s a mesmerizing tragedy and a disturbing example of history bound to repeat itself if measures are not taken to preserve humanity.
This film will do for Native Americans what “Schindler’s List” did for Jews and “12 Years a Slave” did for African Americans: It guards their history from being lost to the annals of time.
Scorsese, DiCaprio, De Niro, and Gladstone have not only crafted one of the year’s best films but also one of the decade’s.
Grade: A
(Rated R for violence, some grisly images, and language.)
