2023-11-02 10:47:24
Dice Martin Scorsese that he is old and that his cinema looks to the past, not only on a plot level, but also on an artistic level. Its concept of cinematographic narration is outdated and it is up to the new generations to look forward and take on the challenge of deciding where the Seventh Art is heading, what implications new technologies are going to have on the audiovisual language of the future, what meaning they are going to have. have the expressive resources of the moving image to make this art evolve and remain alive and current. That’s what he says Martin Scorsese and we allow ourselves to disagree with your opinion. The Moon Killers It is not cinema that looks to the past, it is pure modernity, much more convinced of the importance of the renewal of discourse than most of the cinema made by current new breed of directors.
THE ISSUE OF GENDER
Scorsese He presents the film as a western and as such we have seen it referred to in the media, there we disagree again with the master. Yes, the plot takes place in the American West (more like the Midwest) and involves the Native Americans and the territorial conflict generated by the arrival of European settlers. There is a denunciation of the historical mistreatment of the Indian nations by the white man, as titles such as The Great Battle o Dancing with Wolves; However, in itself the historical event that it portrays moves away from the border era and is set in the early years of the 20s of the 20th century; On the other hand, we are facing a case with a more criminal profile, much closer to Scorsese’s own gangster cinema or other modern films such as Wells of Ambition.
The Moon Killers It also presents a love plot that structures the entire film, a love full of deception and toxic, but, at the same time, a relationship that fills the two main characters with humanity (in the best and worst sense of the word), Ernest (Leonardo DiCaprio) y Mollie Burkhart (Lilly Gladstone).
TO SIMMER
A Martin Scorsese We know him for his dynamic and violent narratives for films like Casino o The wolf of Wall Street; However, with this film she has preferred a more reflective and slow pace. It is a complex story in which many characters participate and many actions are linked, so a careful look and extensive footage were required. This is, along with The Irishthe longest film Scorsese (206 minutes) and, like that one, its footage could perfectly have been structured in the form of chapters for a miniseries. Most likely having that one Netflix and this one Apple TV behind, this was already a possibility that was considered in the early stages of production.
Despite this, we consider that the final result continues to function as a film and that, with this structure, Scorsese opens the door to reflection on what value the duration of the footage has in an audiovisual era where platforms have broken the duration barriers of audiovisual works. In this sense, far from being capricious, it does seem to us that Martin Scorsese has better understood the evolution in the narrative scheme of the cinematographic work than the new generations of directors who work regularly with the platforms.
SUPREMACISM
From the true story, documented by the writer David Neighbor in his book of the same name, The Moon Killers It is a moral tale, where unbridled ambition, predatory materialism and racial supremacism mark the future of the characters. At the historical moment in which the story develops, the Osage nation is an example of the distortion of the identity of the tribe, not only due to contagion with the whites, but above all due to the temptation of the money earned thanks to oil. Cars, clothes, jewelry, luxuries, mark the Europeanization of the Osage, although, as happened with the rats that traveled on the ships that arrived to the Americas, innocent and unaware of how devastating human beings can be towards others or towards themselves. same.
PAST AND FUTURE
Scorsese’s staging is pristine. The filmmaker, accompanied by the beautiful lighting of Ricardo Prieto and the always fine editing of Thelma Schoonmakeroffers us a complex film, which yes, referentially draws on the western (the fordianas Desert Centaurs o The Man Who Killed Liberty Valanceamong others), but also from the black series or the filmmaker’s pictorial background.
Of Edward S. Curtis he inherits that need to capture with the image a past that slips through the fingers and agonizes; and yet, there is also a look to the future, to what the 20th century would become.
In that look at the past, present and future, we find the three protagonists. Robert De Niro He was the fetish actor of Scorsese between 1973 and 1995, recovered here in one of his best performances from his last stage of maturity. His King Hale is as endearing and deadly as the Paul Sorvino of One of ours.
Leonardo DiCaprio has been the impetus for the career of Scorsese since they met for the first time in 2002 with Gangs of New York. His meeting also with De Niro thirty years after This Boy’s Life seems to have put pressure on the actor Infiltratorsleaves a careful interpretation, with a character with a double face, but who exceeds histrionics.
Finally, the future is Lily Gladstonean unknown actress, blessed with a splendid character and who takes full advantage of the opportunity to offer the most outstanding performance in the film, above her two famous and prestigious co-stars.
In this sense, we also highlight the splendid musical work of Robbie Robertsonreversing folk and traditional themes, providing the forcefulness and rhythm that the narrative of Scorsese. On the balance of the negative, little to contribute, beyond some histrionics of DiCaprio or some other member of the cast and a final stretch where, far from weighing down the length of the film, some ugly cuts can be seen to condense the plot.
BLACK GOLD
In a year full of great titles and great filmmakers and in which hope in cinema has been returned to us, The Moon Killers occupies a position of honor. It is, without a doubt, one of the best films of this year, an ambitious, intelligent and complex title, narrated with a firm hand by one of the last great masters of this art.
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