Members of the Osage tribe in the United States are murdered under mysterious circumstances in the 1920s, sparking a major F.B.I. investigation involving J. Edgar Hoover.
Chuck says:
Flawed, yet compelling, Martin Scorsese’s “Killers of the Flower Moon” is a portrait of unconscionable greed and willing compliance, an examination of one of the most heinous crimes of the 20th century and a metaphor for the corruption in the United States. Based on the book by David Grann, the film pulls no punches in its depiction of the systematic slaughter of members of the Osage tribe during the 1920’s, condoned by the powers-that-be in the Oklahoma community where they lived.
As presented in Grann’s book, this is a sweeping story of corruption, one that extends far wider than what Scorsese and his co-writer Eric Roth present here. To focus on one aspect of the story is a wise approach for a film, as a television mini-series would be needed to appreciate its true scope. Yet, there’s something a bit off in this approach, as not nearly enough time is spent exploring the Osage and their culture, while the story sags after the two-hour mark, a bit of repetition evident in the events on display, tedium threatening to creep in, once the film’s end game is evident.
In the late 1800’s, oil is found on the Osage reservation in Oklahoma, so much so that by the time the 1920’s roll around, this group is the richest, per capita, in the world. Unabashedly enjoying their largess, they quickly become targets for rapacious businessmen such as William Hale (Robert De Niro), a self-proclaimed friend of the Osage.
He and other opportunists are aware the oil rights individuals were allotted would pass on to their spouses if they were to die. As such, Hale encourages his nephew, Ernest Burkhart (Leonardo DiCaprio), a World War I veteran he’s taken under his wing, to be on the lookout for an Osage woman to marry. He soon sets his sights on Mollie (Lily Gladstone), an outspoken member of the tribe who’s initially wary of his advances. She eventually weakens, agrees to marry Burkhart and their family grows. And while he enjoys her ever-increasing wealth, this proves not to be enough and soon, he begins to listen to his uncle’s plan to increase their coffers by any means necessary.
As usual, Scorsese does not shrink from tackling a complex narrative, the machinations behind this scheme quickly explained, followed by a series of graphic killings that underscore the ruthless nature of his characters. Their intent is not a secret but the extent to which Hale and his brethren will go to line their pockets proves fascinating, their lack of empathy revealing the monsters that live among the Osage.
Though it would be a disservice to say the characters are one-dimensional, Burkhart is the only one provided with some shades of gray. Effectively rendered by Di Caprio as a man who’s none too bright, he initially has no intent to harm anyone. Yet, his desire to please his uncle and fit into his society undoes any sense of morality he might have had, and soon he’s putty in Hale’s hands. Whether he was an innocent dupe or was fully aware of the scheme remains in question for some time, his actions belying his naïve pronouncements of innocence and love for his wife.
In addition to Di Caprio’s fine work, Gladstone makes a distinct impression in her first major role. She effectively conveys Mollie’s strong sense of mind, body, and spirit, so much so that I began to wonder why she was wasting her time on Burkhart, who obviously isn’t as smart or sound as she. You’re drawn to her during the first two acts, events regrettably pushing her to the side during the final hour. Still, her presence is felt throughout.
As for De Niro, it’s time to start thinking of awarding him another Oscar. The film contains some of his very best work, the actor giving a seemingly effortless, layered portrait of rationalized evil. He sees Hale as a man who firmly believes he has every right to wipe out those he deems inferior for personal gain. De Niro’s calm, seemingly sane approach is chilling.
The film’s third act introduces some familiar and welcome faces. Brendan Fraser and John Lithgow appear as opposing attorneys in the case that’s ultimately brought against Hale and Burkhart, while Jesse Plemons shows ups as Tom White, a former Texas Ranger, now employed by the burgeoning FBI, sent by J. Edgar Hoover to investigate the murders. The inclusion of these three provides the film with a boost just when it threatens to lose momentum.
While I suspect Scorsese wanted to avoid making a crime procedural, delving a bit more into how White and his cohorts cracked the case would have helped energize the rather stagnant last hour. And while this may not rank with his very best, there’s no question that Scorsese hasn’t lost a step, “Moon” hindered only by a bloated and, at times, uneven script.
3 Stars
