Unraveling the Conclusion of Killers of the Flower Moon

Article Key Points

Martin Scorsese's "Killers of the Flower Moon" is a highly anticipated film and has quickly become an immediate classic and one of Scorsese's best.

The film tackles a disturbing topic and may prove difficult to watch, but its profound and powerful portrayal makes it worthy of viewing.

"Killers of the Flower Moon" is inspired by real events and delves into the racism and entitlement that resulted in the killings of the Osage Native Americans during the 1920s. The movie showcases the indomitable spirit and fortitude of the Osage community.

2023 has been a remarkable year for the film industry. Wes Anderson's latest film, the global success of Barbenheimer, and the impressive animated films TMNT: Mutant Mayhem and Spider-Man: Across the Spiderverse have already been released. Furthermore, there are upcoming movies from renowned directors like Michael Mann, Sofia Coppola, Ridley Scott, and David Fincher. However, despite this plethora of exceptional films, Martin Scorsese's Killers of the Flower Moon stands out as the most exciting film of the year.

This highly anticipated three-and-a-half-hour epic reunites Scorsese with Robert DeNiro for the first time since 2019. It embodies the essence of classic Scorsese in the most captivating manner. Following its release, Killers of the Flower Moon has quickly become an immediate classic, ranking among Scorsese's finest works. In addition to its runtime, the film delves into incredibly dark subject matter. It may be a challenging viewing experience, but its profound impact makes it more than worthwhile.

The History Behind Killers of the Flower Moon

Killers of the Flower Moon is a film adaptation of the nonfiction book written by David Grann, which shares the same title. During the 1890s, the Osage Native Americans made a significant discovery of oil beneath their reservation in Oklahoma. This newfound wealth resulted in the Osage community becoming affluent, yet it also attracted the attention of white settlers. The events described in both the book and the film take place in the 1920s. In this period, William Hale, a wealthy cattle rancher residing in Osage County, conspired to obtain the Osage's oil headrights by resorting to murder. Accompanied by a group of hired assassins and coconspirators, including his nephew Ernest Burkhart, the story of the film revolves around Ernest's perspective. Together, Ernest and Hale planned to eliminate Mollie's entire family, thereby securing a larger inheritance for themselves.

Martin Scorsese's films frequently feature a protagonist that the audience roots against. These characters are often based on real individuals who committed heinous acts, and presenting the story from their perspective allows viewers to witness a more realistic portrayal of events. Rather than portraying these figures as traditional villains, Scorsese's approach aims to reflect the fact that in reality, the worst individuals often remain unpunished and the truth remains hidden from the public.

When Scorsese delves into the lives of these detestable individuals, he initially showcases the charm and charisma that initially attracted people to them. The films depict their lavish lifestyles and the allure of their persona. However, as the audience becomes engrossed, the truth is revealed. In the case of "GoodFellas," the first half portrays the supposed glamour of being a gangster, with protagonist Henry Hill and his mafia associates accumulating wealth, enjoying freedom, and demanding respect. However, as the film progresses, it becomes evident that these men inflict harm upon everyone around them, including themselves. They constantly face distrust and live in fear of death or imprisonment, ultimately destroying themselves in the pursuit of a life that, in turn, destroys them. This same narrative pattern is also present in films like "The Wolf of Wall Street" and "The Irishman," highlighting the repulsive and abusive nature that lies beneath the collected coolness displayed by these despicable characters.

Killers of the Flower Moon takes a different approach altogether. It bears resemblance to films like Raging Bull, where Jake LaMotta is depicted with utter disdain throughout the entire duration. Scorsese employs a similar strategy with Ernest Burkhart. The film never treats Burkhart with anything other than contempt, portraying him as physically repulsive and unclean, unpleasant both in appearance and speech. He may very well be the character Scorsese despises the most.

The movie delivers a scathing criticism of white privilege and sheds light on how individuals who do not perceive themselves as racist can still perpetrate appallingly bigoted acts. Ernest unabashedly favors his child who can pass as white and only concerns himself with their wellbeing. Carelessly, he becomes involved in his uncle's plan, killing or violently harming anyone who exhibits even the slightest suspicion surrounding the murders. He commits the heinous act of wiping out his wife's entire family and sabotages her insulin, deliberately keeping her weak to hinder any attempts at investigation.

And yet despite this, Ernest does not perceive himself as a malevolent individual. He somehow deceives himself into believing that he genuinely loves his wife and children, and that he made every effort for the sake of his family. Scorsese grants him one final opportunity for redemption in their last conversation with Mollie, where she straightforwardly asks him about the content of the injections he administered to her. Ernest fails the test, hesitating for a moment and claiming it was merely insulin. Mollie silently walks away from him, never to cross paths with him again. A triumphant moment for a woman who has endured nothing but sorrow, betrayal, and disdain from those she once trusted the most. Regardless of what they took away from her, her determination to survive remained invincible.

How Does Killers of the Flower Moon end?

In stark contrast to the rest of the film, the epilogue of Killers of the Flower Moon takes a different approach. Instead of depicting the characters' actions, it presents a radio show that narrates the subsequent events in the story. This shift in tone is striking, as the radio show deviates from the intense despair of the film, incorporating lively sound effects while recounting the events. The closing lines of the show are delivered by Martin Scorsese himself, who describes the unfolding of Mollie Kyle's life. He concludes by mentioning her death and notes that the tombstone does not make any reference to the murders.

In this scene, Scorsese acknowledges the limitations of Killers of the Flower Moon, both as a film and as a white filmmaker telling an Osage story. Despite the movie's strong support and portrayal of the Osage people's culture under attack, it ultimately serves as entertainment. Just like the radio show, the film reduces the real-life murders to mere entertainment. Scorsese openly accepts this reality with his final line. The Osage community is proud and resilient, and their story focuses on their strength rather than their suffering.

As a beautiful homage to this idea, the film ends with an aerial shot of modern-day Osage engaging in a tribal dance, celebrating their culture. This image serves as an apologetic gesture, highlighting the survival and endurance of the Osage people and their culture, despite the hardships they have faced.

Editor's P/S

As a Gen Z fan, I am thrilled about the conclusion of Killers of the Flower Moon. Martin Scorsese's latest film is a powerful and unflinching look at one of the darkest chapters in American history. The film's gripping narrative and stunning visuals make it a must-see for fans of Scorsese and historical dramas.

The film's conclusion is particularly satisfying, as it brings the story of the Osage murders to a close and provides a sense of justice for the victims. The film's message of hope and perseverance is a reminder that even in the darkest of times, there is always light. I highly recommend Killers of the Flower Moon and believe it is one of the best films of the year.