In Scorsese’s latest masterpiece, the adaptation of David Grann’s nonfiction book ‘Killers of the Flower Moon,’ we encounter the hapless Ernest Burkhart (Leonardo DiCaprio), a seemingly dull-edged nephew entangled in a sinister web orchestrated by the Machiavellian cattle rancher, William Hale (the towering and treacherous Robert De Niro).
Set against the backdrop of the early 1920s in Gray Horse, Osage County, Oklahoma, money and power intertwine as in any other period or place in the US. However, a unique twist of fate has concentrated wealth not in the hands of the white community but within the Osage Native Americans, thanks to the discovery of vast oil reserves on their reservation.
The frenzy of a gold rush permeates the town, with oil workers vying for jobs and opportunistic individuals seeking to exploit Osage wealth.
Enter Ernest, fresh out of the army and unfit for physical or mental exertion. He finds himself at the door of his prosperous uncle, Hale, who quickly discerns the potential in his pliable nephew. What follows is a money-making scheme with a considerable body count among the Osage people. DiCaprio’s portrayal of Ernest is a delightful departure from his usual roles, stumbling cluelessly on the edge of tragicomedy, a far cry from his typically sharp-witted characters.
A significant portion of the film’s 206-minute runtime captures Ernest’s reactions as he grapples with understanding his uncle’s instructions. While this adds to the film’s charm, it is one of the few minor sticking points in an otherwise engrossing opus. Encouraged by his uncle, Ernest marries Mollie (a magnetic Lily Gladstone), a “full-blood” Osage woman with a share in the oil deposits.
Gladstone’s performance is magnificent, bringing a point of stillness to a narrative filled with swagger and noise. The quiet strength of her character becomes the heart of a film populated by the heartless or clueless.
However, Mollie’s temporary sidelining due to ill health leads to a momentary loss of momentum in the film. Yet, this lull is just a precursor to a surprising twist. In a bracingly audacious scene featuring a brief cameo from the director himself, Scorsese underscores that it’s not just the land and resources pillaged from the Native American people but also their culture and stories, including the one unfolding on screen.