It was well into the process of making Killers of the Flower Moon that Martin Scorsese realized it wasn’t a detective story.
Scorsese, actor Leonardo DiCaprio and screenwriter Eric Roth had many potential avenues in adapting David Grann’s expansive nonfiction history, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI. The film that Scorsese and company premiered Saturday at the Cannes Film Festival, however, wasn’t like the one they initially set out to make.
The film, which will open in theaters in October, chronicles the series of killings that took place throughout the Osage Nation in 1920s Oklahoma. The Osage were then enormously rich from oil on their land, and many white barons and gangsters alike sought to control and steal their money. Dozens of Osage Native Americans were killed before the FBI, in its infancy, began to investigate.
Photo: AFP
DiCaprio had originally been cast to star as FBI agent Tom White. But after mulling the project over, Scorsese decided to pivot.
“I said, ‘I think the audience is ahead of us,” Scorsese told reporters in Cannes on Sunday. “They know it’s not a whodunit. It’s a who-didn’t-do-it.”
The shift, filmmakers said, was largely driven from collaboration with the Osage. Osage Nation Chief Standing Bear, who consulted on the film, praised the filmmakers for centering the story instead on Mollie (Lily Gladstone) and her husband Ernest Burkhart (DiCaprio), the tragic romance at the heart of Scorsese’s epic of insidious American ethnic exploitation.
“Early on, I asked Mr. Scorsese, ‘How are you going to approach the story? He said I’m going to tell a story about trust, trust between Mollie and Ernest, trust between the outside world and the Osage and the betrayal of those trusts,” said Chief Standing Bear. “My people suffered greatly and to this very day those effects are with us. But I can say on behalf of the Osage, Marty Scorsese and his team have restored trust and we know that trust will not be betrayed.”
Killers of the Flower Moon, the most anticipated film to debut at this year’s Cannes, instead became about Ernest, who Scorsese called “the character the least is written about.”
DiCaprio, who ceded the character of White to Jesse Plemons, said Killers of the Flower Moon reverberates with other only recently widely discussed dark chapters of American history.
“This story, much like the Tulsa massacre, has been something that people have started to learn about and started to understand is part of culture, part of our history,” said DiCaprio. “After the screenplay, from almost an anthropological perspective — Marty was there everyday — we were talking to the community, trying to hear the real stories and trying to incorporate the truth.”
Killers of the Flower Moon premiered Saturday to largely rave reviews and thunderous applause nearly 50 years after Scorsese, as a young filmmaker, was a sensation at Cannes. His Taxi Driver won the Palme d’Or in 1976.
Among the most-praised performances has been that of Gladstone, the actor of Blackfeet and Nimiipuu heritage.
“These artistic souls on this stage here cared about telling a story that pierces the veil of what society tells us we’re supposed to care about and not,” said Gladstone, who singled out Scorsese. “Who else is going to challenge people to challenge their own complicity in white supremacy in such a platform except as this man here?”
“We’re speaking of the 1920s Osage community. We’re talking about Black Wall Street and Tulsa. We’re talking about a lot in our film,” she continued. “Why the hell does the world not know about these things? Our communities always have. It’s so central to everything about how we understand our place in the world.”
In the film, Robert De Niro plays a wealthy baron who’s particularly adept at plundering the Osage. Speaking on Sunday, De Niro was still mulling his character’s motivations.
“There’s a kind of feeling of entitlement,” said De Niro. “It’s the banality of evil. It’s the thing that we have to watch out for. We see it today, of course. We all know who I’m going to talk about but I won’t say the name. Because that guy is stupid. Imagine if you’re smart?”
A minute later, De Niro resumed: “I mean, look at Trump,” referring to former President Donald Trump.
With a running time well over three hours and a budget from Apple of US$200 million, Killers of the Flower Moon is one of Scorsese’s largest undertakings. Asked where he gets the gumption for such risks, the 80-year-old director didn’t hesitate.
“As far as taking risks at this age, what else can I do?” said Scorsese. “‘No, let’s go do something comfortable.’ Are you kidding?”
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
While Americans face the upcoming second Donald Trump presidency with bright optimism/existential dread in Taiwan there are also varying opinions on what the impact will be here. Regardless of what one thinks of Trump personally and his first administration, US-Taiwan relations blossomed. Relative to the previous Obama administration, arms sales rocketed from US$14 billion during Obama’s eight years to US$18 billion in four years under Trump. High-profile visits by administration officials, bipartisan Congressional delegations, more and higher-level government-to-government direct contacts were all increased under Trump, setting the stage and example for the Biden administration to follow. However, Trump administration secretary
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,
In mid-1949 George Kennan, the famed geopolitical thinker and analyst, wrote a memorandum on US policy towards Taiwan and Penghu, then known as, respectively, Formosa and the Pescadores. In it he argued that Formosa and Pescadores would be lost to the Chine communists in a few years, or even months, because of the deteriorating situation on the islands, defeating the US goal of keeping them out of Communist Chinese hands. Kennan contended that “the only reasonably sure chance of denying Formosa and the Pescadores to the Communists” would be to remove the current Chinese administration, establish a neutral administration and
RSS