Martin Scorsese's 'Killers of the Flower Moon' is a riveting American crime story. rilaws reviews:
, crafting a wintry portrait of a gangster at his end. But for his next act, the director has merely gone further back in time to examine another organized brutality. Withwhich premiered here at the Cannes Film Festival on Saturday, Scorsese adapts’s nonfiction bestseller, a chronicle of the murders of Osage people in 1920s Oklahoma. Over three and a half hours, Scorsese maps out a sprawling injustice, adding another piece to his grand collage of a nation’s cruelty.
The Osage oil boom was a rare instance of Native Americans finding themselves in control of resources, which of course was anathema to many of the white people flocking to the county to work the oil fields. Their barely clandestine efforts to steal this Native wealth are grimly laid bare inCourtesy of Cannes Film Festival
Ernest meets a rich Osage woman, Mollie Kyle, who catches his attention for her serene beauty and playfully cool demeanor. She’s played byin a performance of quiet, but forceful, dignity; Mollie is, in some senses, the hero of the film, though she is sidelined by illness both natural and manufactured.suggests a true affection between Mollie and Ernest, perverted by the rapacious predation of Ernest and his clan.
It’s a genocide in miniature, essentially, through which Scorsese addresses the much larger displacement and eradication of Native Americans. Unlike his other mobster pictures,is never giddy about its violence. Some scenes have a propulsive energy, but the film is often as solemn and ruminative asScorsese’s whispery epic about extreme faith. Still, by the end, the film has spoken plenty loudly about the long horror of colonialism, its horrifying reach and ruin.
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