"Killers of the Flower Moon" will premiere exclusively in UK and Irish cinemas, in partnership with Paramount Pictures, from 20 October before streaming globally on Apple TV+
"Killers of the Flower Moon," directed by Martin Scorsese, takes an emotionally charged journey into the heart of the Osage community, a Native American tribe from the Great Plains. The centre-point of the film is Mollie Burkhart (brilliantly played by Indigenous actor Lily Gladstone) and around her the viewer witnesses the atrocities faced by the Osage people as settlers take over their land through manipulation and murder, revealing a tale of jealousy, greed, and evil.
The storytelling power of Scorsese shines through from the very first scenes. It becomes evident that the white settlers' actions are anything but virtuous, in spite of the illusory masquerade of compassionate friendship to the Osage peoples. Their relentless pursuit of wealth blinds them to the historical truth: the Osage people were the rightful inhabitants of this seemingly barren land, which later revealed its hidden riches through vast oil reserves. The Osage peoples' newfound wealth in their land claims underlines the importance of land rights and early Indigenous self-determination.
As the Osage bury their ceremonial pipe and, with it, their ancestral teachings, black oil begins to gush from the land. This symbolism reflects the harsh reality that to prosper and benefit from this wealth, their ties to their ancestral heritage is slowly stripped away. William Hale (a superlative Robert DeNiro), a devilish figure of white male patriarchy, hides enormous greed behind his false charm. He speaks the Osage language with the community, winning their trust while simultaneously betraying it. His puppeteering and manipulation of his nephew Ernest Burkhart (a remarkable performance by Leonardo DiCaprio), coupled with his insistence on being addressed as "king," underscore his insistence to assert power over the Osage.
The film effectively employs symbolism to illustrate the dangers posed by the white settlers. The recurring owl, perceived as a harbinger of Osage decline, is a haunting reminder of the growing peril as Indigenous women marry white men. Mollie's slow descent into darkness, masterminded by her gaslighting husband Ernest, is a heartbreaking testament to the white betrayal and destruction of Indigenous peoples.
"Killers of the Flower Moon" also exposes the issue of tokenism and the objectification of Indigenous women. The casual reference to Kelsey Morrison's wife as a means to gain more money and Hale's fetishization of "red" women both showcase the dehumanising lens through which Indigenous women are often viewed. The term "blanket" used to describe them reflects the exoticism they endure, as their cultural dress of a literal blanket around them - which originally conveys warmth, comfort and protection - in this case is subverted and used as an actual target on their backs.
Adapted from the work of non-Indigenous author David Elliot Grann, the film delves into the intriguing origins of the FBI, intricately interwoven with the investigation of the Osage murders. Scorsese skilfully navigates the historical narrative, expertly balancing artistic expression, narrative form, and historical accuracy. Throughout the film, the camera lingers on the striking visage of Mollie, portraying her with a depth that goes beyond words. Yet, her voice is often stifled amidst the agony inflicted upon her: a torment both literal and psychological, orchestrated by the gaslighting schemes of Ernest Burkhart and William Hale. There is some measure of satisfaction and catharsis brought about by the presence of the Bureau of Investigation (Pre-FBI) lead Tom White (played with understated brilliance by Jesse Plemons), righteous justice in John Lithgows’ Prosecutor Leonard, and a brief but fiery appearance by Brendan Fraser as Hales’ defence attorney.
The silence of Mollie is in and of itself an integral fabric of tale, filling each frame she occupies with her commanding presence. Despite this, there remains an undeniable yearning to delve deeper into her inner world, to hear her thoughts and emotions. Extended scenes of Indigenous Osage speaking in the Elders circle are intelligently and wisely centred into the film. While these moments provide valuable insight, the audience is still left needing to hear more of Mollies' perspective. In her stoic suffering and fighting for the truth, she emerges as the true heroine of the story, and the desire to know her untold story becomes a poignant echo.
In the canon of Hollywood films featuring Indigenous stories (difficult to navigate and often told inaccurately), it is one of the few mainstream films that delve deeply enough into the Indigenous past of America, and the unending injustice wrought by colonialism. The film may indeed be a cornerstone upon which future mainstream films can be built - where other stories can unleash the voice of the Indigenous female lead, ending generational silence.
Notably, this is a work of deep respect towards the Osage peoples, made with and alongside the Osage community, with their consultation and Elder guidance. With that in mind, the film achieves its original purpose: to show reverence to the Osage, to tell the history accurately in multi-perspective narrative, to reveal the fascinating birth of the FBI, and above all - point to the enduring beauty and power of the Osage peoples.
"Killers of the Flower Moon" offers a raw and culturally sensitive retelling of historical events. It delves into the complex and painful history of the Osage people, who were forced to assimilate to prosper from the oil profits on their land. The end scene portrays a modern-day Powwow, heralding the return to Indigenous heritage and healing in spectacular circular form. Scorsese's masterpiece reminds us that the Osage people’s spirit endures, in spite of the bitter injustices they faced. It is a thought-provoking cinematic journey that will resonate with audiences long after the credits roll. We are left bonded with the hauntingly beautiful Mollie, whose powerful presence is without a doubt the heart and soul of the film.
“Killers of the Flower Moon" will premiere exclusively in UK and Irish cinemas, in partnership with Paramount Pictures, from 20 October before streaming globally on Apple TV+.
Authors: Olivia Ronan and Alicia Kroemer
Editor: Jordan Thorne
Film images: Apple Studios (2023), https://www.apple.com/uk/tv-pr/originals/killers-of-the-flower-moon/
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