Killers Of The Flower Moon (2023) - A Heartbreaking but Necessary Story

     Killers Of The Flower Moon (2023)

I've been waiting for this movie since the day it was announced way back in 2020.

Both for the story, for the actors and for many other elements, but in particular I was waiting to see how far master Martin Scorsese would go on this occasion: needless to say that as always he managed to go beyond expectations that every person could imagine.

"Killers of the Flower Moon" is in fact, so far, in my humble opinion, the film of the year.

I won't stop to talk about the perfect direction of this film, the incredible and never boring pace despite the duration, the unique cinematography of Rodrigo, the authentic sets, the historically perfect costumes, the always innovative and never banal editing of Thelma, the perfectly measured and never invasive soundtrack by Robbie Robertson, or the literally Oscar-worthy performances of every single character on stage, in particular DiCaprio who gives a maniacal acting performance, full of humanity and De Niro who hasn't been this good since 2019 (yes, exactly since last Scorsese film).

The element I want to focus on most of all is this story (a story written by Scorsese himself, among other things): a unique, necessary, but above all unknown story.

Very few people, myself included, were aware of the terrible events that occurred in Oklahoma during the early 1900s.

Scorsese's great step therefore lies in giving voice to events practically forgotten by most, but as always, not stopping only at a mere informative representation. Oh no, because the story of "Killers of the Flower Moon" is many things, but certainly not an end in itself; the narrative structure that Martin adopts is a structure capable of making people appreciate and understand the story in itself, but above all of taking the spectator somewhere else: starting from the detail and taking him gradually, also thanks to the length of the film, to a universal work, in which every element on stage becomes nothing more than an obvious yet always true metaphor: the human being is an evil monster.

Martin Scorsese is the best living director in the history of cinema and with this work full of identity, sacredness (and obviously gangster elements rather than westerns) he is able to tell once again, like very few others, the true nature of the human being.