There tend to be lots of fast-talking and fast-moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in. But in “Killers of the Flower Moon,” everything seems to slow down, and especially when the camera lands on Lily Gladstone.
Leonardo DiCaprio and Lily Gladstone in a scene from “Killers of the Flower Moon” films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in. everything seems to slow down, and especially when the camera lands on Lily Gladstone.
It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.
Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills. So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.
Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.
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