The Oscar winner’s insidious portrayal of a bystander to genocide fits the recent theme of his filmography—and marks perhaps his most interesting stretch as an actor.
At that point, DiCaprio was coming off poorly reviewed but commercially successful titles like The Man in the Iron Mask and The Beach, and he’d recently exited the thrillingly risky American Psycho due to creative differences. The director behind that eventual Christian Bale vehicle, Mary Harron, later commented on that decision: “ brought way too much baggage with him—I did not want to deal with someone who had a 13-year-old fan base.
DiCaprio was almost too good. Perhaps some weren’t ready. A decade later, Scorsese and DiCaprio meet again in Killers of the Flower Moon, with the latter in a fresh career phase—one less burdened by the peak of fame, perhaps, and thus less in need of subversion. How quickly things can change: The pathetic, weaselly skin of Ernest Burkhart, a dopey war veteran unwittingly entangled in a horrific conspiracy to extort and murder the Osage community in 1920s Oklahoma, fits him like a glove.
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