Martin Scorsese's ambitious historical drama Killers of the Flower Moon is full of familiarities and flourishes from the master. filmfest_ca's review:
has made a career telling stories that tackle issues of justice, retribution and betrayal. From his overt and poetic crime films, through to his dark comedies, religious parables and character pieces, he has long been drawn to stories where the ambiguities of life collide with the complexities of survival, and where day-to-day choices result in consequences sometimes obvious, and sometimes far more subtle and insidious.
One way the system could be subverted was through marriage, and it’s here that the film takes its central story, landing somewhere between love and larceny. Lily Gladstone plays Mollie Burkhart, a beautiful young woman who is helping care for her elderly mother . At the behest of his powerful cattle rancher uncle William Hale , returning soldier Ernest Burkhart is encouraged to flame the sparks of affection with Mollie both for personal benefit and to potentially secure a line into this lucre.
The other performances are subtle and welcome, from the oleaginous smirk of De Niro as he shakes hands while stabbing those closest to him in the back, to DiCaprio’s bewildered air and underlying cruelty mixed with bouts of kindness. Gladstone’s role is the most thankless, as she spends much of the film either educating her gormless suitor or fighting off illness, yet throughout she presents both an intelligence and vulnerability that never succumbs to cliché.
Questions about an Italian American taking on this story of the betrayal of Native Americans are of course valid, but it’s clear that Scorsese and his team have poured attention and resources to allow their Indigenous collaborators to have their voices heard and traditions respected. The benefit of the running time is to allow most of the characters, from bootlegger to tribal elder, to be drawn in three dimensions, rarely succumbing to simplistic or stereotypical presentation.
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