“Killers of the Flower Moon” isn’t ultimately among Scorsese’s strongest work — and, no, it need not be as lengthy as it is — but it’s still stronger than that of myriad other filmmaker…
Leonardo DiCaprio’s Ernest tries to charm Lily Gladstone’s Mollie early on in “Killers of the Flower Moon.” That isn’t only because of the film’s length — nearly three-and-a-half hours — although that’s certainly part of it.
In theaters this week and bound for Apple TV+ at some point down the line, “Flower Moon” moves more fluidly than Scorsese’s previous film, the sometimes tedious and barely longer 2019 affair “The Irishman.” Ernest is one of many whites flooding into the town in the 1920s looking for a piece of the action. At first, he drives a cab for his uncle, which is how he first encounters Mollie Kyle , a member of a wealthy Osage family. William encourages Ernest to get to know Mollie; were they to marry, he suggests, it would put Ernest on a path to a lucrative inheritance.
Based on investigative journalist David Grann’s 2017 book “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the film has been in development for years by Scorsese, who was recruited for it by DiCaprio. Early on, Scorsese was crafting a narrative centered around Tom White, an FBI investigator portrayed in the film by “Irishman” alum Jesse Plemons. However, the final screenplay — co-written by Eric Roth shifts the focus to Ernest and, to a lesser degree, Mollie.
On the other hand, Gladstone — who was raised on the Blackfeet Reservation in northwestern Montana and is from the Blackfeet and Nez Perce Tribal Nations — is the standout of the film. Unfortunately, Mollie is relegated to the sidelines for a good chunk of “Flower Moon,” but, still, Gladstone’s performance lends humanity to the proceedings. If her work isn’t the film’s heart, it is its soul.
Following Grann’s highly regarded book, the film further sheds light on a horrific chapter of history previously known to too few.
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