Ambitious, powerful, flawed: Killers of the Flower Moon ends with a stroke of brilliance

The camera lifts above a car being driven on a dirt road, early in Martin Scorsese’s. It keeps on lifting until all we can see to the horizon is green fields pocked with oil derricks. Not even Scorsese can resist the temptation of a drone shot, but this opening flourish is stylistically deceptive. Billed as an epic,is a claustrophobic film, mostly set indoors. The violence it depicts is intimate yet comprehensive: genocide as implemented in one town, against one community.

Ernest takes a job as chauffeur, through which he meets the elegant and droll Mollie Brown , who shares, with her mother and two sisters, the profit from an Osage oil licence. Mollie initially describes her would-be suitor as a “coyote”. She and her sisters, Minnie and Anna, make fun of the white men’s craving for wealth. But Ernest also teases Mollie, and the fact he can make her laugh is the first chink in her armour.

But plenty of frontier colonialists did believe in their good intentions, and it might have been more honest and made for a more suspenseful film, had some aspect of that cruel-to-be-kind attitude been sincerely embodied by these characters.

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