The exploration of the Osage Native American tribe murders in the 1920s, previously depicted in a 1959 segment of The FBI Story starring Jimmy Stewart, takes an excruciating turn in Scorsese's Killers of the Flower Moon. Clocking in at a relentless 3 ½ hours without respite, this film diverges from the original police procedural perspective on the FBI investigation, allegedly opting for the tribe's viewpoint, as suggested by the director after consulting with contemporary Osage tribal leaders.
Although the FBI investigation finally takes center stage in the last third of the film, contrary to his claims, Scorsese fails to give due attention to the Native American characters, instead focusing predominantly on the nefarious white men exploiting and murdering the Osage tribe after the discovery of oil on their land made them wealthy.
The Osage Native American community's response to the film has been mixed, with some appreciating the exposure of this tragic tale of mistreatment, while others lament the lack of a Native American perspective.
Scorsese's purported departure from the original source material is nothing more than a mirage, as it becomes evident that he sidesteps the Native American perspective, opting instead to center the narrative around the criminals. This approach, however, appears to be the only feasible way to achieve dramatic cohesion.
Scorsese, driven by his recurring theme of the banality of evil, seems paradoxically enamored with the violence he claims to abhor. The film's dramatic strategy often relies on an unhealthy dose of depravity, catering to the audience's salacious appetite while also playing into white guilt by casting detestable white characters as antagonists and Native American ones as innocents- a politically correct yet somewhat predictable choice.
The antagonists, portrayed by Leonardo DiCaprio and Robert De Niro, exhibit age-inappropriate casting, with DiCaprio playing returning WWI veteran Ernest Burkhart and De Niro taking on the role of William King Hale, a duplicitous reserve deputy sheriff and cattle rancher. The main plot revolves around their association, as Hale manipulates his nephews into a series of contract killings targeting Native American women for their newfound wealth.
Lily Gladstone, playing Mollie Kyle, the most prominent Native American character, unfortunately, has little to do beyond showcasing suffering from diabetes. The film fails to give her character depth, and her inexplicable loyalty to Ernest, even after his exposure as a conspirator, remains unexplored and undermines the narrative.
The relentless sequence of killings orchestrated by Hale's henchmen becomes tedious, and while these characters contribute to the concept of the banality of evil and enhance the film's atmosphere, their machinations are excessively drawn out.
The eventual arrival of Bureau of Investigation agent Thomas White leads to the arrest and prosecution of the perpetrators, a somewhat satisfying but drawn-out resolution that feels prolonged.
Scorsese's penchant for overkill is evident in the courtroom testimony, followed by a flashback duplicating the depiction of the murder of Anna, contributing to the film's overall sense of dragging. The fate of the characters is disclosed in a radio drama set years later, with Scorsese making a cameo appearance, attempting to inject emotion into the summary of the aftermath.
DiCaprio and De Niro deliver one-note performances as amoral killers lacking conscience. Despite the perceived injustice of their relatively early parole, the film acknowledges that their crimes were not ignored by the Federal government. A silver lining emerges as Congress abolished the exploitative practice of guardianship for the Osage stakeholders, finally granting them access to their rightful wealth. While the historical significance of the narrative is undeniable, Scorsese's excessive approach detracts from the impact and leaves the audience grappling with an unnecessarily prolonged viewing experience.
Although the FBI investigation finally takes center stage in the last third of the film, contrary to his claims, Scorsese fails to give due attention to the Native American characters, instead focusing predominantly on the nefarious white men exploiting and murdering the Osage tribe after the discovery of oil on their land made them wealthy.
The Osage Native American community's response to the film has been mixed, with some appreciating the exposure of this tragic tale of mistreatment, while others lament the lack of a Native American perspective.
Scorsese's purported departure from the original source material is nothing more than a mirage, as it becomes evident that he sidesteps the Native American perspective, opting instead to center the narrative around the criminals. This approach, however, appears to be the only feasible way to achieve dramatic cohesion.
Scorsese, driven by his recurring theme of the banality of evil, seems paradoxically enamored with the violence he claims to abhor. The film's dramatic strategy often relies on an unhealthy dose of depravity, catering to the audience's salacious appetite while also playing into white guilt by casting detestable white characters as antagonists and Native American ones as innocents- a politically correct yet somewhat predictable choice.
The antagonists, portrayed by Leonardo DiCaprio and Robert De Niro, exhibit age-inappropriate casting, with DiCaprio playing returning WWI veteran Ernest Burkhart and De Niro taking on the role of William King Hale, a duplicitous reserve deputy sheriff and cattle rancher. The main plot revolves around their association, as Hale manipulates his nephews into a series of contract killings targeting Native American women for their newfound wealth.
Lily Gladstone, playing Mollie Kyle, the most prominent Native American character, unfortunately, has little to do beyond showcasing suffering from diabetes. The film fails to give her character depth, and her inexplicable loyalty to Ernest, even after his exposure as a conspirator, remains unexplored and undermines the narrative.
The relentless sequence of killings orchestrated by Hale's henchmen becomes tedious, and while these characters contribute to the concept of the banality of evil and enhance the film's atmosphere, their machinations are excessively drawn out.
The eventual arrival of Bureau of Investigation agent Thomas White leads to the arrest and prosecution of the perpetrators, a somewhat satisfying but drawn-out resolution that feels prolonged.
Scorsese's penchant for overkill is evident in the courtroom testimony, followed by a flashback duplicating the depiction of the murder of Anna, contributing to the film's overall sense of dragging. The fate of the characters is disclosed in a radio drama set years later, with Scorsese making a cameo appearance, attempting to inject emotion into the summary of the aftermath.
DiCaprio and De Niro deliver one-note performances as amoral killers lacking conscience. Despite the perceived injustice of their relatively early parole, the film acknowledges that their crimes were not ignored by the Federal government. A silver lining emerges as Congress abolished the exploitative practice of guardianship for the Osage stakeholders, finally granting them access to their rightful wealth. While the historical significance of the narrative is undeniable, Scorsese's excessive approach detracts from the impact and leaves the audience grappling with an unnecessarily prolonged viewing experience.