“Killers of the Flower Moon,” a $200-million, 206-minute epic produced by Apple that's in theaters Friday, is an audacious big swing by Scorsese to continue his kind of ambitious, personal filmmaking on the largest scale at a time when such grand, big-screen statements are a rarity. “I found that this story lent itself to that exploration further.” “That’s been my whole life, dealing with who we are,” says Scorsese. All of which, to Scorsese, harkens back to the tough guys and the weak-willed go-alongs he witnessed in his childhood growing up on Elizabeth Street in New York.
It’s a disturbingly insidious one, where greed and violence infiltrate the most intimate relationships - a genocide in the home.
More than the back-room dealings of “Casino,” the bloody rampages of “Gangs of New York” or the financial swindling of “The Wolf of Wall Street,” “Killers of the Flower Moon” is the story of a crime wave. But as a story of trust and betrayal - the film is centered on the loving yet treacherous relationship between Mollie Kyle (Lily Gladstone), a member of a larger Osage family, and Ernest Burkhart (Leonardo DiCaprio), a WWI veteran who comes to work for his corrupt uncle (Robert De Niro) - it’s a profoundly personal film that maps some of the themes of Scorsese’s gangster films onto American history. His latest, “Killers of the Flower Moon,” about the systematic killing of Osage Nation members for their oil-rich land in the 1920s, is in many ways far outside Scorsese's own experience.
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