Killers of the Flower Moon review: A devastating, utterly tremendous piece of cinema

In Killers of the Flower Moon, the legendary director Martin Scorsese undertakes a monumental task: bringing to life the dark and complex history of the Osage Nation and the gruesome murders that marred their newfound wealth following the discovery of oil on their land in early 20th century Oklahoma. 

Based on David Grann's 2017 book, the film is a disturbing and often haunting chronicle of a deeply unsettling chapter in American history. It is a masterful work by any definition of the word and depicts the murders and the ensuing atmosphere of fear in harrowing detail. And with Scorsese's natural directorial flair, it also raises significant questions about whose perspective the story truly serves and whether it is able to navigate the tricky terrain of telling a story of the oppressed without falling prey to oppressor's perspective.

It was a tasty idea: An eye-opening non-fiction book about an overlooked and horrifying events in the American history being adapted to a 3.5 hours film by one of the greatest filmmakers of all time. Does it deliver? Well, yes and no. 

The Osage Reign of Terror was a two-decade-long string of brutal murders that targeted the Osage community after their land, hitherto considered too rocky and without much value and "gifted" to them by white settlers, yielded immense wealth from oil reserves. The Osage, like many other Native American tribes, had a history of loss, displacement, and struggle, and the sudden influx of wealth turned them into the richest people per capita in the United States. 

But their newfound riches attracted the envy of white outsiders who saw them as undeserving of their money and sought to exploit and dispossess them. The film attempts to depict the kind of thinking that led to one of the most inhumane and heinous murder campaigns in American history.

To this day, the exact number of Osage people murdered during this reign of terror remains unknown.

Does Killers of the Flower Moon tell the story from the wrong perspective?

The film tells the story by focusing on Mollie Kyle, portrayed by Lily Gladstone, one of the Osage individuals who initially saw white rancher and the ringleader of the conspiracy William King Hale, portrayed by Robert De Niro, as a local hero and referred to him with respect by using his middle name, King. Mollie's perspective serves as a pivotal lens through which the audience experiences the harrowing events. 

I had not seen anything of Gladstone before this movie and thus was dumbfounded by the ease with which she held her own before the actors of Leonardo DiCaprio and Robert De Niro's calibre. I cannot overstate this, but she was simply outstanding in the movie, though I do believe she was not awarded the 'main character' treatment that she deserved. 

She is depicted as a determined and strong woman, but her character's passivity and lack of overt anger or retaliation in the face of the crimes committed against her, her family, and her community, even at the end, was less than satisfying. I expected a catharsis after witnessing unrelenting violence against her community for three hours. 

The film presents a stark dichotomy: it does successfully highlight the pain the Osage suffered. However, the movie's choice to centralise the character of Ernest Burkhart, played by Leonardo DiCaprio, admittedly alongside Mollie, is a strange creative choice that rankled with me. I get Leo is a phenomenal actor (and he is certainly amazing in this movie) but perhaps it would have been better for him to take a backseat this time?

While Ernest and Mollie's stories are undoubtedly interconnected, the narrative approach makes Killers of the Flower Moon feel like a film primarily tailored, however unintentionally, for a white audience.

The Osage perspective is at times relegated to the background. It is a valid criticism, even if I am talking about a maestro like Scorsese (and his co-screenwriter Eric Roth), to wonder if the film should have provided a more robust platform for their voices and experiences. 

The choice to focus on Ernest and his transformation from a seemingly innocuous character into an accomplice in heinous crimes would have been an interesting and compelling to witness in any other movie. But here, in a film about a series of tragedies taking place in a Native American community at the hands of white settlers, it inevitably steers the narrative towards an oppressor's perspective.

In all fairness, though, Osage's language and culture do play an important role in the film and are celebrated, with several scenes where characters speak in Osage and rituals being performed. The movie directly confronts the racism, violence, and maliciousness prevalent among white settlers, particularly those who consider themselves friends of the "Indians", and paints a vivid and painful picture of the harsh reality that many Indigenous communities around the world have had to endure. 

Scorsese, after all, made this film in conjunction with members of the community, and it is clear while watching the film that he has deep respect for the people and this story.

Performances

The performances are universally excellent and one of the reasons the film, despite its hefty runtime, never felt dull. Gladstone and DiCaprio are excellent individually as mentioned above but as a team, they get even better. De Niro, a Scorsese old hand, is brilliant in his role as the cunning and enigmatic Hale, I do wish De Niro would play more outright villains. He is crazy good at it. He exudes an outward charm that does not quite mask his underlying malevolence. His ability to transition seamlessly between charismatic and sinister is something to behold.

Technical aspects are flawless

Cinematographer Rodrigo Prieto crafts breathtaking visuals. There are striking angles, composition, and sparing, artful use of light. The interior and exterior shots are composed with precision, creating a truly vivid and immersive cinematic experience. I recommend an IMAX screen if your city has one. Prieto's use of saturated colours enhances the visual richness of already gorgeous vistas of the Osage Nation and interiors. The visuals also go a long way in capturing the essence of the time and place.

Thelma Schoonmaker's editing is one other reason why the pacing of the film is just perfect. There are quick, daring cuts that may be jarring at times, but they contribute to the film's overall rhythm and impact. She is able to maintain a sense of urgency in certain scenes while allowing for moments of reflection in others. It is a delicate balance to maintain but she nails it. Her editing choices, coupled with Scorsese's directon, serves to keep the audience on the edge of their seats, enhancing the storytelling and maintaining a sense of momentum throughout the nearly three-and-a-half-hour runtime.

The late Robbie Robertson's score create a rich atmosphere, alternating between a rhythmic, drum-heavy Native American beat, chants, and evocative soundscapes. His connection to indigenous themes, rooted in his Mohawk heritage, was evident in the music's resonance and cultural relevance.

Killers of the Flower Moon, despite flaws, is a tremendous piece of filmmaking

In the end, Killers of the Flower Moon, for all its flaws, is a moving, devastating, and utterly tremendous piece of cinema that demands attention and reflection. The film is a stark reminder of the importance of historical awareness and the need to confront uncomfortable truths. It is a work of great artistry and emotional depth, yet it raises important questions about the portrayal of historical atrocities and whose perspective should take precedence in telling these stories.

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