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Scorsese is interested more in what is between the lines, the questions that remain unanswered, how they can possibly get away with this, and how far they might go, and perhaps how far we as a nation have not come.ĭiCaprio is superb here, and it is a tricky role because he is doing something very bad, getting himself in deeper but also must convince us there is more there than meets the eye.

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In other words, this is not a procedural or about “the birth of the FBI” as Grann’s own title insinuates (James Stewart already made that movie - it is called The FBI Story). Scorsese even incorporates a killing montage just to drive the point home. Early on we know damn well who is responsible and why it is happening.

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What Scorsese does not seem interested in doing is refocusing the story on this particular investigation which in real-life led to a trial (John Lithgow and Brendan Fraser turn up as opposing lawyers), or in shaping this into any kind of murder mystery. RELATED: ‘Killers Of The Flower Moon’ Cannes Red Carpet Photos Things heat up as Mollie herself becomes sick. Getting wind of this, FBI agent White ( Jesse Plemons) turns up to investigate.

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They get married, have kids, but a mysterious series of deaths are occurring in the community and soon in Mollie’s own family as well, including her sisters and mother. Enter Mollie Kyke (Lily Gladstone), an attractive and smart Osage woman who does seem smitten by Ernest’s natural charm even though she points out he probably “likes money,” but he genuinely seems to grow to love her, and she him. If this can happen enough, Hale believes, the Osage people will be pushed out and/or killed off. Burkhart really is a kind of aimless and happy-go-lucky guy, certainly impressionable enough to be roped into Hale’s ultimately evil scheme of getting a rich Osage woman to marry him, then kill off her family and finally her - slow poison is a good method - to inherit her money and land. Leonardo DiCaprio and Lily Gladstone in ‘Killers of the Flower Moon’ Apple/ParamountĪt its heart though is a love story, or so we are meant to believe, that starts with the arrival of a wounded World War I veteran Ernest Burkhart (Leonardo DiCaprio), who comes back to this Oklahoma town to work for his uncle, William Hale ( Robert De Niro), a kind of titular civic-minded figure well-liked by the Osage he has convinced are his good friends, people whose best interests he is looking out for. In other words they became filthy rich, living in high society, until the Reign of Terror by some very bad white men in the early ’20s attempted to take it all away via a scheme to marry into Osage families and do away with them one by one until they are the only one left to inherit the headrights to their land and all that money.

Storywise, Scorsese uses silent movie-style footage to establish how the Osage Indian Nation, pushed out of other lands and forced to settle in a less desirable part of Oklahoma, became the wealthiest per-capita people in the country when they struck oil on the land they owned, much like James Dean in Giant. RELATED: Martin Scorsese’s ‘Killers Of The Flower Moon’ Receives Nine-Minute Standing Ovation At Cannes World Premiere It was diabolical, no less so because its architect convinced those involved that it was entirely legal.

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That is what Scorsese has done in spades with Killers of the Flower Moon, Grann’s best-known work to date, centering it not on the Texas Ranger-turned-FBI agent Tom White who became the “white savior” for the Osage community when he cracked the case in 1923, but rather on the suspects involved in a scheme to take back what the white man believed was naturally theirs. His The Lost City of Z: A Tale of Deadly Obsession in the Amazon gave director James Gray the rip-roaring material to make what I think is still his finest film - also not one attempting to shoot the book as it were, but to get to the heart of it. Grann is a journalist-turned-bestselling author whose works seem tailor-made for the movies.

Martin Scorsese, Leonardo DiCaprio & Robert De Niro On How They Found The Emotional Handle For Their Cannes Epic ‘Killers Of The Flower Moon’