Film Analysis: Scorsese’s ‘Killers of the Flower Moon’ is a Grand Narrative of Avarice, Skillfully Rendered

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Martin Scorsese’s cinematic style is often marked by swift dialogue and rapid action, frequently exhibited by complex characters with dubious motivations. Yet, in this opus, the director provides ample narrative space, filling it with compelling content.

Opting for subtlety, Lily Gladstone delivers a nuanced performance that complements the virtuoso contributions of Leonardo DiCaprio and Robert De Niro. In this rare Scorsese venture that brings a female character to the forefront, Gladstone becomes the emotional fulcrum of the film, leaving a lasting impression on the audience.

Adapted from David Grann’s enthralling mystery centered around the Osage community in 1920s Oklahoma, ‘Killers of the Flower Moon’ is a novel venture for the octogenarian director. Marking his first foray into the Western genre—a domain he has long aspired to tackle—the film subverts traditional genre roles and perspectives. Furthermore, Scorsese carefully portrays the Osage people, a demographic he has never previously focused on, paying meticulous attention to their traditions, beliefs, and customs.

Unsurprisingly, Scorsese marshals a formidable array of artistic tools for this ambitious undertaking. Cinematographer Rodrigo Prieto and production designer Jack Fisk collaborate to render a visually stunning replica of a 1920s Oklahoma oil town.

Though the film’s runtime of three and a half hours may stir debate, the scope and gravity of the story make a compelling case for its length. The narrative—a blend of historical exposé, true crime, and intricate love story—warrants the attention to detail present in each frame.

The narrative arc begins with the depiction of a late 19th-century Osage ceremony, punctuated by the dramatic emergence of oil from what was once considered barren land. Subsequently, the Osage people experience a sudden influx of wealth, although this prosperity comes under the control of appointed white “guardians.”

The plot introduces Mollie, seeking financial autonomy to pay for medical expenses, and Ernest Burkhart, portrayed by DiCaprio. A World War I veteran with profligate tastes but lacking means, Burkhart arrives under the wing of his manipulative uncle, William Hale (De Niro). As a prominent cattle rancher, Hale exercises significant influence, styling himself as a friend to the Osage community while harboring ulterior motives.

The narrative unfolds as Ernest is coerced into courting Mollie for access to her assets. Despite this subterfuge, a genuine emotional connection develops between them, complicating the family dynamics and leading to a series of troubling events. Subsequent to these occurrences, federal agent Tom White (Jesse Plemons) enters the fray, marking a decisive turn in the story that culminates in a tense courtroom scene.

With a comprehensive supporting cast, including noteworthy musicians and Osage actors, and an evocative score by Scorsese’s late friend Robbie Robertson, the film builds to an ingenious conclusion, one that neatly ties up narrative loose ends. This ambitious effort stands as a testament to Scorsese’s continually evolving artistry, both enriching the cinematic landscape and offering tribute to the Osage community and Native peoples more broadly.

‘Killers of the Flower Moon,’ released on AppleTV+, has received an R rating from the Motion Picture Association for its violent content, grisly imagery, and language. With a runtime of 206 minutes, the film earns a four-out-of-four-star rating.

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More about Scorsese’s ‘Killers of the Flower Moon’ Review

• Martin Scorsese’s Filmography
• David Grann’s ‘Killers of the Flower Moon’ Book
• AppleTV+ Streaming Service
• Motion Picture Association Ratings
• The Osage Nation: History and Culture
• Leonardo DiCaprio’s Acting Career
• Robert De Niro’s Acting Career
• Western Genre in Film
• Interview with Rodrigo Prieto, Cinematographer
• Profile of Jack Fisk, Production Designer