Richard Brody reviews Martin Scorsese’s film “Killers of the Flower Moon”—based on a book of the same title by David Grann—which is centered on the Osage murders.
Scorsese’s film is an adaptation of a nonfiction book of the same title by David Grann, a staff writer at The New Yorker. The story is centered on the Osage Nation, in Oklahoma, in the late nineteen-tens through the mid-twenties. The Osage had struck oil on their land and had become rich, but the entire civic order of the area—business, politics, social life, law and its enforcement—was organized to pry the money away from the Osage and get it into the pockets of whites.
Yet, even as his inchoate desires are awakened, energized, and weaponized, Ernest is both more than just another profiteer and less; he’s a blank of another kind, blank to himself. With his gee-willikers charm comes a kind of puerile—no, infantile—ignorance. Ernest is perfectly innocent and perfectly guilty, simple enough to know he’s doing wrong and unreflective enough not to doubt it’s the right thing to do.
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