From black gold to blood red
After a three-year hiatus, director Martin Scorsese’s feature film Killers of the Flower Moon stands out from many of his previous works due to the absence of authorial text or voiceovers from the main character. This epic-film, with a runtime of over three hours, is based on both 2017 novel of the same name by writer/ screenwriter David Grann and real historical events and people. While most of Scorsese’s films are long, and his reputation largely rests on his gangster films, this movie marks a departure by incorporating elements of film noir—a genre characterized by its pessimistic, cynical, and darkly atmospheric qualities. In Killers of the Flower Moon, Scorsese creates a remarkable synthesis of Western and drama genres. Unlike his previous films, which featured a soundtrack of various hit songs, this film boasts an original score composed by Robbie Robertson. The film’s precise and effective use of music is worthy of its own discussion.
The exposition of the film begins with Ernest Burkhart (played by Leonardo DiCaprio) returning to Oklahoma after World War I, motivated by profit. The chaotic and confusing atmosphere at the station reflects the overall mood of the region, characterized by its predatory people and the impending events. Ernest’s uncle, William Hale (played by Robert De Niro), known as “The King,” is “a businessman” in Oklahoma. Hale is involved in cattle trading rather than oil in order to “keep himself out of trouble”, he is known as a “benevolent” landowner and “a great friend” to the local Native American community. It is no coincidence that I use a lot of quotation marks. The cunning plans of the “philanthropist” who has such titles and the inner face of Ernest, who is no less cunning, are revealed, especially in its first act, to the audience. Both are driven solely by greed. Hale’s obsession with amassing more wealth and land is explored in detail throughout the film, showcasing the extent of his unscrupulous schemes to expand his fortune.
Nothing is sacred to Hale, who also manipulates Ernest as a means to further his insidious plans. Ernest, who is ‘in love’ with Molly Kyle (played by Lily Gladstone) on the advice of his uncle, the daughter of a wealthy Hindu family begins a scheme. However, Ernest is also devi in disguise. The plan involves gradually ‘neutralizing’ the potential heirs of Molly’s extensive family fortune.”
That’s all I have to say about the film; let’s move on to Scorsese’s working method and the creative segment in general. I believe the concept of “Auteur Cinema,” first developed by French film critic and film theorist André Bazin and which has become particularly widespread in recent years, is somewhat distorted and not always used appropriately. Many people associate “Auteur Cinema” with “art-house” films, mistakenly thinking that if a film is made with a minimal budget, features sparse dialogue, and includes long, silent shots, it automatically qualifies as such. This is a misunderstanding. As the term suggests, “Auteur Cinema” reflects an authentic personal signature, a unique imprint of the author that is recognizable from even a frame. Of course, if the author proved him/herself style. Martin Scorsese is undoubtedly a living legend. His distinctive style and signature have set a template for many filmmakers around the globe. Scorsese, who has worked within this mold for years and prefers not to deviate from it, made “Killers of the Flower Moon” in his traditional style. At first glance, the structure of this film may seem definitely similar to that of his famous works like “Goodfellas” or “The Irishman.” However, the narration in storytelling, the minutely characterization, and other elements ensure that the viewer forgets these similarities. Adhering to his own style is not a flaw; on the contrary, it reflects the author’s commitment to their signature, presenting the audience with authentic “Auteur Cinema,” which is received with enthusiasm.
Scorsese’s name has become a brand synonymous with quality, and when viewers see his name on a poster, they know they can expect a compelling work. Scorsese’s profession extends beyond directing; we can also call him a masterful sculptor. It is well-known that he “made” Robert De Niro and Leonardo DiCaprio into global cinematic icons. Scorsese’s unique approach to working with actors could easily fill a textbook.
In the film in question, the traces of Scorsese’s distinctive style are evident in the behavior of the actors and their characters. “White” and “Jewish” characters portrayed by De Niro and DiCaprio are notably different from the “red-Indian” one played by Lily Gladstone. While the “white” ones are depicted with a cold, greedy, and expressive demeanor, the “red-Indian” Molly Clay is vividly brought to life through actions and dialogue that reflect her cultural background, genetics, and the wealth of her noble family.
The behavior of the characters in the film, shaped by their origins, social status, and inherent nature, as well as their reactions to various situations, is a product of Scorsese’s style. The director’s attention to detail should emphasised since he pieces together these elements like a puzzle. Small details, such as owls to be seen to characters who are in convulsion, red apples, and other subtle imagery play a crucial role in conveying the story and enhancing the film’s depth. In this film, the characters engage in an “open game” with the audience, allowing viewers to quickly identify the antagonist and protagonist within the first few minutes. As the story unfolds, the true extent of “white” antagonists’ insidiousness who manipulate and exploit the local population to seize their oil revenues—is gradually revealed.
The director began working on this film as soon as the novel I mentioned earlier was published. However, filming was postponed due to the pandemic. It is clear that this topic is particularly special and sentimental for the director. At the end of the film, the director makes a cameo appearance and delivers the final lines, which underscores this assumption.
Excerpt from the director’s remarks about the film: “This topic is very personal to me. The world, and especially the American people, must know the truth. Cinematography, as you know, is a ‘lie’ created through lights. The catharsis experienced by the audience from the shadows of lights coming to life on the white screen vanishes once the lights are turned on in the theater because it is merely an illusion. Even though a film may be based on real events, cinematography itself is inherently a lie, as the author adds their own interpretation to any fictionalized event. Nevertheless, I have endeavored to convey the truth to the audience through this play of light and shadow. The viewer should know that they share the breath of insidious individuals in the air and recognize the innocent blood spilled on the land they walk upon.”
İlgar Guliyev