I just saw this film a few days ago. As soon as it started, it reminded me of three films that in my adolescent years influenced my love for cinema: Heat, Braveheart. and Legends of the Fall. What they have in common with Killers of the Flower Moon, I'm not sure, maybe running time, violence, Robert De Niro, or the indigenous presence. One thing I can say is that when I saw these films, they felt like a BIG DEAL. It's a big Hollywood production but has something to say.
I did not grow up watching Martin Scorsese films when I was little. At least not at home. I found myself as an adult discovering, piece by piece, all the indelible gems that Marty had left for us throughout his career. It is interesting because I was not part of an era of the “electric” Scorsese from the 80s and early 90s. I slowly discovered his filmography and in the last 12 years, I have been enjoying the work of a more meditative, mature filmmaker who can be as electric as he wants to be, like in The Wolf of Wall Street. but he chooses to reflect on life itself more than anything.
We are lucky that filmmakers like Scorsese exist because studios trust him, and give him all the budget that he needs to use and display it masterfully. Killers of the Flower Moon marks “another film” that is a work of art; a genius behind the camera, a music conductor inspiring their orchestra.
He is in a league of his own. And years from now, new filmmakers, critics, and cinephiles will study his craft. There is so much on display here that a review here won’t do justice. From all the technical details and aspects to the performances (and oh man what a trio of performances). Killers of the Flower Moon must be seen in theaters to appreciate its achievements.
Seeing it in the theater forces you to pay attention to every camera movement, every gesture every sound, and everything that Mr. Scorsese allows us to see.
The trailer of this film revealed much of the central plot, but even if you know how it ends, the journey is what matters. I am biased because this movie is my speed (no pun intended). It's a very slow burn. Yes, you feel the running time, but it's okay because it is absorbing, gut-wrenching, upsetting, intense, and heartbreaking. All those emotions are slowly growing in us while we watch this film. And I truly love it when a film makes me feel like I am on a rollercoaster of emotions.
The performances? Leonardo DiCaprio provides one of the top three performances of his career, in my opinion. De Niro, my goodness, should not lose the Best Supporting Actor category for 2023, and it should not be close—sorry, Robert Downey Jr. fans. What De Niro does here is reinventing the concept of evil in a film.
And lastly, the heart of the movie is Lily Gladstone. WOW. The backbone of this film. Her physical and emotional pain transcends the screen to a level that very few have been able to do this year, aside from Greta Lee in Past Lives.
Rodrigo Prieto's cinematography is impeccable and some of the shots are museum-worthy. The score and soundtrack from the late Robbie Robertson is probably my favorite of all his collaborations with Scorsese. And the editing? Thelma Schoonmaker's eye for cut and transition is possibly the best since Raging Bull. The performance of an actor is enhanced by the eye of a good film editor. The production design, customs, makeup, everything is top level here, amongst the best of the year. I will be thinking about this one for a long time. No one is making films like Marty. Whatever the Academy decides to do, there will be no one more deserving of best director than Scorsese. He is one of the greatest of all time.
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