It’s hard to imagine a story more “American” than Killers of the Flower Moon. A true story about an Indian tribe being forced to give up their land along with their customs and freedom. Adapted from David Grann’s gripping non-fiction book, Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, transports viewers to the 1920s, a time when oil money flowed like black gold, and the Osage people were ruthlessly targeted for their wealth. With a stellar cast led by Leonardo DiCaprio, Robert De Niro, and Lily Gladstone, director Martin Scorsese weaves a cinematic tapestry that is as haunting as it is captivating.

There were approximately five hundred sovereign Indian nations in what is now the United States when Europeans first arrived in North America. These tribes are the only Indigenous people to this land. All the rest of us are immigrants. The Osage Indians (Children of the Middle Waters) date back to 700 B.C., and lived on the Ohio and Mississippi river valleys. They lived off the land, 100 million acres of it, for hundreds of years. The Osage were forced by the U.S. Government; first to Missouri, then Kansas and finally to Oklahoma. The architects of these forced migrations carefully selected reservation sites that were mostly useless to the living customs of the Indian people. They were shocked when vast oil reserves were discovered on Osage territory and the fine print of the contract had given all oil rights to the Osage.

Set against the this backdrop, Killers chronicles the sinister conspiracy that unfolded following the discovery of oil. DiCaprio portrays Ernest Burkhart, a charming but troubled man who becomes embroiled in the conspiracy after marrying into the Osage community. De Niro delivers a powerhouse performance as William Hale, a wealthy rancher with nefarious intentions, while Gladstone shines as Mollie Burkhart, Ernest’s Osage wife who is caught in the crossfire of greed and violence.

The Osage became the richest people in the world, a target for big oil and all manner of hustlers and for-hire tugs. They marry the Osage women who become afflicted with the “wasting disease.” It was poison. When the wives died, the money, called headrights, frequently went to the husband.

Ernest returns from WWI and is taken in by William Hale (Robert De Niro), his uncle. Hale plants the headrights seed by asking Ernest if he knew Molly Kyle (Lilly Gladstone). Hale tells Ernest that if someone would be open to marrying Molly, “that would be something a man could work with. A smart investment. Good business and it’s legal.” The wheels are set in motion.

The murders pile up quickly, filmed in short vignettes, one horrible deed after another. When Molly learns that her sister Anna has been found dead, Scorsese films Molly slowly walking toward a riverbed through a gauntlet of gawkers pressing in to see the dead body. It’s the opposite of what the Osage would do. During the meeting with an estate official on how the oil money from Anna’s headrights will flow, Molly is filmed in close-up starring into the camera. She drifts off as does the scene to her meandering through crush of white men and women who stare at her. In voice-over says, “Evil surrounds my heart. Many times I cry. And this evil around my heart comes out of my eyes. I close my heart and keep what is good there. But hate comes.”

At its core, Killers is a chilling tale of exploitation and betrayal. As the conspiracy unfolds, Scorsese expertly ratchets up the tension, keeping us on edge as the true extent of the corruption is revealed. The pacing balances moments of quiet contemplation with heart-pounding suspense.

Central to the film’s success is the stellar cast, who deliver powerhouse performances across the board. DiCaprio is mesmerizing as Ernest, conveying both his charm and his inner turmoil with nuance and depth. De Niro is equally compelling as Hale, imbuing the character with a sense of menace and entitlement that is truly chilling. Gladstone shines as Mollie, bringing a quiet strength and resilience to the role that anchors the film emotionally.

We constantly wonder if Ernest really loves Molly. Is he torn between what Hale is plotting and his feelings for her? Does Molly love Ernest? Early on in the film she calls him a Coyote and says, “Coyote wants money.” But over and over when given reason to leave, she stays. Scorsese presents both sides of those stories but cleverly doesn’t take a side. As if he’s saying it’s not up to him, or even his audience to decide.

In addition to strong performances, Scorsese deploys his trademark visual flair and attention to detail, bringing the story to life in vivid detail. In a recent interview with Scorsese it is revealed that every detail of the film came to him for approval. Such as the goggles worn by Hale in an open-top car. Scorsese captures both the grandeur of the landscape and the intimacy of the characters’ struggles. Early on in the film we see a long tracking shot, entering Molly’s home which is full of family, hired help, children and a handful of other folks. He takes it slow into the home from the porch, passing through room after room, circling the floor plan as the characters interact with each other. The “Goodfellas shot” never gets old when Marty does it.

Much credit for the authenticity of the architecture and details of the film go to Jack Fisk, the production designer. Fisk has worked with Terrence Malick and David Lynch on groundbreaking films. He does not use soundstages or computers to create his sets. He builds from scratch. He finds buildings and remodels them. Fisk is exacting and does extensive research producing authentic historical detail. It gives Killers a perfect stage.

The film’s visual language includes rich, widescreen, color-sweeping vistas and intimate close-ups. In addition, Rodrigo Prieto, the cinematographer, uses black and white stills of the Osage as well as a scene where Willam Hale watches a black and white newsreel footage of the Tulsa burning of “black wall street” while he sits expressionless in a dark theater. Prieto has been cinematographer on 69 films or shorts and has worked with Scorsese on multiple projects.

Robbie Robertson, a longtime Scorsese collaborator, delivers a soundtrack built on Native American musical themes. He works with contemporary Native American artists as well as drawing on his own Native American background and Western musical traditions. The result elevates the film through authentic cultural resonance, supports the scene’s mood and heightens the overall emotional impact brought to life by Scorsese.

While the unrelenting conspiracy at the center of the story is undeniably tragic, the film celebrates the strength and resilience of the Osage people. There are a number of scenes where the Osage elders bring the families together to discuss how to deal with the attacks against them. Unlike the get rich quick, live for today behavior of the “white man.” The Osage never lose their cultural heritage and indomitable spirit. They have a vision and belief of life that extends well beyond their human existence and material trappings.

The film was written by Scorsese, Eric Roth; Oscar winner and seven time screenplay nominee and Grann, author of the book. It’s a dense script packed with dialogue that resonates with contemporary relevance, shining a light on issues of systemic racism, corporate greed, and the exploitation of marginalized communities. In today’s world, where racial injustice and inequality continue to plague society, the film serves as a powerful reminder of the importance of confronting the sins of the past and striving for a more just and equitable future.

In speaking to a number of people who read the book and have seen the film; they all had the same comment. They liked the book better than the film, no surprise there, seems always the case, and felt the film didn’t tell the whole story. They are right. The film is not the entire book. Perhaps Scorsese and Leonardo DiCaprio tried but at some point along the way completely revamped the story midstream into what we see on the screen. Having read the book myself, I think their choice was excellent.

Grann divides his book into three parts he calls chronicles. The first is about Molly Burkhart, the murders and what is frequently called the “reign of terror” on the Osage. The second focuses on law enforcement at the time, which was unorganized and corrupt, save a few Texas Rangers. In the early 1920’s J. Edgar Hoover ran the Bureau of Investigation. He organized and modernized how investigation was done; fingerprints, undercover agents, etc. Hoover sent Tom White (Jesse Plemons) to Oklahoma to investigate the murders. Attorney General Harlan Fiske Stone changed the department’s name to the Federal Bureau of Investigation and appointed Hoover director on May 10, 1924. Hoover held that position until his death in 1972. This second chronicle is of course interesting, but too wide-ranging to be included in Killers the movie. The third chronicle is Grann’s first person account. He spent years interviewing people and going through thousands of FBI documents, autopsy reports, wills, bank records, studies on ballistics, etc. Again, way too much material and more suited to documentary style filmmaking.

Killers is not a western, but there are horses and cowboys. Killers is not a mob picture, although there is a mob boss and an organized crime ring engaging in nefarious activity. Killers is not a mystery, because we know who is causing this mischief and why in the first reel.

I think it’s a history lesson.