It was the most anticipated film, the one that brings it all together, movie legends in front of and behind the camera and a three and a half hour story about a historical event that points directly to the original sin of the United States. Killers of the Flower Moon is a torrential exercise in historical memory in which its director, Martin Scorsese, goes over everything, the thrillerhe westernthe tragicomedy and even the romantic drama, to settle accounts with the greed of a country founded on the Indian genocide.
Killers of the Flower Moon is based on the book The Moon Killers(Penguin Random House), from the journalist from The New Yorker david grann. For five years, Grann investigated a criminal story that connects with the best crime novel and with the fatality that has mercilessly haunted Native Americans: the disappearance of the Osage Nation. In 1870, they were displaced from their land to a corner of the Oklahoma Great Plains (the infamous Trail of Tears), a land that in the 1920s spat out the black gold that changed everything again.
It was at the beginning of that decade that the Osage reservation became the richest land in the world. In his historical fresco, Scorsese recalls another story that happened a few kilometers away and in parallel. In the same way that the members of the Osage Nation, in the city of Tulsa, also in Oklahoma, the so-called Black Wall Street emerged, who, like the Osage, lived in mansions, had white servants, cars and jewelry. That African-American prosperity was wiped out with the Tulsa race massacre, orchestrated by the city authorities, which reduced to ashes all the property of the wealthy Black Wall Street. Today, in Tulsa, there is an exciting museum that pays tribute to that massacre, and now a torrential film will travel around the world to tell what happened in 1921 to other victims of a country that has invested more effort in overcoming the slave-owning past. than to the Indian extermination.
At 80 years old, Scorsese has embarked on an excessive film with which he returns to the festival that he won in 1976 with Taxi Driver and to which he has not returned for almost four decades, when his crazy comedy Whoa, what a night! He took the one with the best direction. Outside of the contest, the veteran filmmaker has offered a feast of cinema and seniority in a blockbuster whose greatness is at the service of a criminal history that was investigated by the then newly created FBI, which with a team of clandestine police officers pursued the mystery of the deaths for poisoning, murder and disappearances of the Osage, investigations that revealed one of the most grisly conspiracies in American history.
Scorsese’s favorite actor Robert De Niro stars as William King Hale, the mobster mastermind who orchestrated the murders and poisonings of Native Americans who had grown rich from oil. But the backbone of the film is Leonardo DiCaprio, as a wimpy nephew of William King Hale, and the stunning Lily Gladstone, as Osage Indian Mollie Burkhart, a woman who lost her entire family to murder or poisoning. so that he can keep his oil and his fortune.
She is the heroine of the film, and Gladstone, who already shone with her own light in the wonderful Certain Womenby Kelly Reichardt, composes with enormous sensitivity, beauty and elegance a character that Scorsese pampers until the last second because all the greatness and pain of the Indian people is hidden in his noble gaze.
The relationship between her and DiCaprio is a great metaphor for a story that does not take a breather and is not afraid of excess. Nor to humor or caricature. In their seventh collaboration together, DiCaprio and Scorsese are employed in a complicated character, a poor man whom the actor knows how to navigate between the human and the grotesque. DiCaprio and Gladstone, always with a moving dignity, are the center of some of the best sequences in the film, which tirelessly navigates her tender and poisoned love.
Killers of the Flower Moon, in which Scorsese reserves an exciting epilogue, it is not just a great film, it is a film that knows how to be great, which displays all its power as a period classic throughout Giantby George Stevens, but aimed at a country in full self-examination, built on the shoulders of wimps at the service of money and miserable murderers who believed they owned the earth and all its fruits.
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