It’s not Martin Scorsese’s western, and it’s not another gangster epic. It’s his marriage story.
Photo: Melinda Sue Gordon
The early scenes of Martin Scorsese’s Killers of the Flower Moon are a symphony of pointed dissonance. The director revels in the frantic bustle of the Oklahoma boomtown of Fairfax where most of the film is set — a world of fast, shiny cars; hollering cowboys; and seemingly endless oil fields. World War I has recently ended, and the turn-of-the-century discovery of black gold in this region, to which the Osage were moved from their ancestral homes along the Ohio and Mississippi River valleys, has unexpectedly created immense wealth, making the Osage “the richest people per capita on…
