Evil takes many forms. A manifestation of the darkest vices of humanity, it burrows deeply into society and siphons the vitality from its victims rapidly, like an oil drill digging deeper into healthy soil. But what happens when evil goes unchecked? What happens when the most deranged urges of man are rewarded with the bounties of a wounded community?
These are the questions that Martin Scorsese set out to answer in his latest film, “Killers of the Flower Moon.” Clocking in at 3 hours and 26 minutes, the movie covers a story of epic proportions that ranks as one of Scorsese’s longest to date. Based on David Grann’s book of the same name, “Killers of the Flower Moon” documents a foundational case of mass murder in 1920s Oklahoma and the concurrent establishment of the Federal Bureau of Investigation (FBI).
When Ernest Burkhart (Leonardo DiCaprio) returns home from World War I, he is greeted by his cattle-farming uncle, William Hale (Robert De Niro), who settled on a Native American reservation in Osage County after oil was found on the land. Due to this, the Osage people became the wealthiest people per capita in the United States, a fact that made the Osage people vulnerable to criminals eager to get their hands on some of this ‘liquid gold.’ The story closely follows Burkhart’s relationship with one Osage woman, Mollie (Lily Gladstone), who he befriends and marries at the behest of his uncle Bill Smith. As the mystery unravels, the true nature of William’s intentions becomes clearer to Ernest, whose heart is torn between his beloved and the loyalty he feels toward his powerful uncle.
It would be impossible to continue without emphasizing the thematic excellence Scorsese is able to achieve throughout his work. In masterful coordination with DiCaprio’s understanding of a truly complex character, Scorsese is able to create a real human being on-screen in Ernest. The expression and pain on DiCaprio’s face as he manipulates and twists his own morals to achieve his material goals is, in a word, priceless. The audience witnesses the true downfall of a man whose soul is infiltrated by capitalistic perversion. It is a tragedy to watch a man who once loved so strongly become nothing more than a vessel for corporate greed and monetary ambition. All of this works to bolster the central idea that the movie demonstrates — evil can be anywhere, and it is not black and white.
The concept that evil is flexible and multifaceted permeates every aspect of the film’s construction. Some shots depict hellish imagery, the light dimly flickering on the actor’s faces. The methods these criminals use to achieve their goals are sickening, and the dialogue reflects their lack of sympathy for the suffering at their hands. In a coagulation of casual racism and genuine feelings of entitlement, Scorsese makes it clear that the perpetrators of the brutality are convinced that they are morally justified. Even the runtime itself provides a grueling glimpse into how this cold, calculated evil takes hold. It takes time to set in, like a virus beginning to incubate. “Killers of the Flower Moon” is an all-too-real representation of how humanity has succumbed to its own visceral addiction, and warns the audience of just how far some people are willing to go.
The film succeeds so strongly in achieving its intended theme by burdening the star-studded ensemble cast with a majority of the emotional heavy lifting. Gladstone is nothing short of perfect in her role as Mollie. She is a strong and stern leading lady whose character serves as a metaphor for the Osage community as a whole. As her livelihood shatters in front of her, she toils and ails in one of the most raw and real performances to grace the silver screen. Mirroring this, the once formidable world of Osage society crumbles under the heel of corruption and avarice. DiCaprio, charming as always, provides a relatable window into how even the best of us can quickly be consumed by the worst. The thematic accomplishment of the movie is predicated on the duality of DiCaprio’s performance. How can a good man do such terrible things? How can a man who loves his wife perpetuate such deep-seated hatred?
The answer is muddy, difficult to wrestle with and tragic. Greed is in all of us. Scorsese’s pessimistic interpretation of the human condition is on full display in this entry, and it is tremendous.
Speaking of tremendous, it’s finally time to address that massive runtime. “Killers of the Flower Moon” is Scorsese’s sixth longest movie to date, and it’s certainly something that did not sit well with some of the audience members in the theater. A couple of restless viewers walked out around the two-hour mark, despite the wildly entertaining story unfolding in front of them. It is understandable, however. The film takes a gradual pace at times, with drawn out dramatic beats in between major story developments. It isn’t for everyone, and in an era where attention spans are plummeting, it might be more suitable to wait for a home release if you tend to get bored.
Regardless of pacing, “Killers of the Flower Moon” triumphs at every angle it intends to. A visual masterpiece, a brilliant screenplay and legendary performances meet at the precipice of modern cinema. His message is a poignant one, such that by embracing greed, humanity becomes the oil rig. It digs deeper, and deeper and deeper, until there is absolutely nothing left.
Rating: 4.5/5