Harry Khachatrian (@Harry1T6) is a film critic for the Washington Examiner's Beltway Confidential blog and a computer engineer in Toronto.
Martin Scorsese is widely recognized for crafting films centered on gritty criminal underworlds and the lavish lifestyles of their gangster overlords, from Mean Streets to The Wolf of Wall Street and, most recently, The Irishman . However, Scorsese's latest crime epic, Killers of the Flower Moon, veers away from many of the venerable filmmaker's customary tropes.
Scorsese’s depiction of Hale, as well as the county's white Americans more broadly, renders some of his previous portrayals of mob families almost benign in comparison. Whether driven by a purely artistic choice or a broader sense of responsibility to the story’s victims, Scorsese abstains from the upbeat, pulsating rhythms that fuel the first half of many of his gangster classics.
Perhaps what rendered Scorsese’s previous portrayals of gangsters almost affable in contrast was their transparency. They were loud and boisterous and made no effort to conceal their true nature. However, the wolves that haunt Osage County come disguised as sheep. Covert and cunning, Hale feigns friendship with the Osage family, all while orchestrating their downfall.
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