Mundanity Of Evil - Killers of the Flower Moon

4.5/5

I may have mentioned this once before, but whenever I show my dad a film of great artistic merit and narrative depth, he always has the same response as the credits roll; “I think I’m going to have to watch that one again.” This sentiment was never meant to be harsh, but instead, a note of honor. The films my dad would respond this way to always offered so much content for him to poke and prod that he saw it as his duty to rewatch the film to take in all it had to offer. Tonight, as I sit in my bed after watching Martin Scorsese’s new feature, Killers of the Flower Moon, I envy my dad's go-to phrase. Killers of the Flower Moon is certainly good, but I sincerely feel I have missed many points crucial to my analysis of the film. I am unsure at this moment how to review this picture. However, since this is my hobby, I must. So, maybe by talking my way through my many thoughts, I can come to some sort of rational conclusion that makes sense.

This story of greed and the evil that lurks in the hearts of man follows Ernest Burkhart (Leonardo DiCaprio) as he returns to Fairfax, Oklahoma to live with and work for his uncle, William Hale (Robert De Niro). We watch Ernest fall in love with a member of the Osage Nation, Mollie (Lily Gladstone), and they get married. Then, a string of murders targetting the wealthy members of the Osage nation begin to cause grief and hardship for the members of this community. All except, of course, those committing the murders. Ernest and Mollie’s story is one that not only examines the treatment of Native Americans by white settlers but also looks at what motivates true savagery. The film shows us brutal scenes of violence but always does so purposefully. The impact of each murder is calculated and necessary to further illustrate the brutality and apathy of these crimes. However, for the sake of full transparency, one thing never felt like it was developed well enough. The relationships and development in the first act of the film felt a little rushed to me. By the end of the 3-hour-long film though, I was uncertain whether this criticism had any legs. The performances by DiCaprio and Gladstone were ultimately so engaging that I lost track of whether this textual criticism was based on anything at all. I remember thinking this during the first act, but by the climax, it was such a distant and hazy memory that I am now uncertain if it was even valid. In the end, this is just one more reason I desperately need to see this film again. It brilliantly succeeds at realizing all of its larger ideas with the help of one of the most talented and passionate cast and crews in the industry.

The cast of Killers of the Flower Moon brought their A-game to this project. Leo and De Nero are brilliant as always, and newcomer Lily Gladstone makes her talent and presence known. She is able to stand toe-to-toe with her fellow leads (Especially DiCaprio) and often steals the spotlight from them. Side characters are equally well cast, and each performer gives their role enough passion and energy that it is palpable. The cast's strength is complimented by great technical artistry and know-how behind the lens.

The crew crafted a film that is as technically impressive as it is textually. The cinematography by Rodrigo Prieto (who also shot Barbie this year) is gorgeous and, at times, reminded me of the best parts of Terrence Malick’s shot design. The editing by Scorsese alum Thelma Schoonmaker is consistently polished and inspired. The direction overall is impactful, brilliant, and artistically arousing. At this stage in his career, Scorsese has established himself as a master of his medium. His leadership and creative decisions created a movie with great stylistic choices, heart-wrenching moments of emotion, and respectful imagery. At the end of this quick little write-up, I realized that, although I still need to rewatch Killers of the Flower Moon to understand its intricacies all the better, I really loved my time with Scorsese’s passionate picture. It is a warning of evil and a respectful document of a forgotten history and people. I will certainly need to watch this one again soon. Another excellent addition to what is shaping up to be a wonderful year for cinema.