Although he’s primarily (if reductively) identified with gangsters and New York City, Martin Scorsese has long expressed an interest in directing a Western.
John Ford’s serves as a particular touchstone — Harvey Keitel delivers a lengthy disquisition on the film in Scorsese’s first feature,consciously evokes its plot — but Scorsese adores the genre in all its permutations and periods. InBut despite its Oklahoma setting and undeniably epic scale, the film upends most of our usual expectations for the Western, with its heroicized white pioneers and gunfighters, and especially its simple-minded dialectic of civilization and savagery.
recounts the outbreak of an alarming number of murders on the Osage reservation from 1918-31. Oil had been discovered on the reservation in the late 1800s, and when its value skyrocketed in the first decades of the 20th century, the once-impoverished Osage — whose enrolled members each had an equal share of the money generated by the land’s ever-multiplying wells — became suddenly and fabulously wealthy.
Hale engages in an extensive network of schemes — including several almost comically obvious insurance scams — but central to his machinations is the Osage family of Mollie Kyle . Shortly after disembarking at Fairfax’s bustling railway station, returning World War I soldier Ernest starts work as a driver, and Mollie soon becomes one of his regular passengers. Apparently smitten, Ernest begins a courtship, and when Mollie reciprocates his affections, the two are wed.
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