KILLING OURSELVES UNDER THE MOONLIGHT WITH FLOWERS AROUND
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The stretched, meaningless, and pretentious film is not even close to Scorsese's early works. There's no doubt that this film will be praised, not because it's good, but simply because it's trendy and culturally and politically correct. After all, Martin Scorsese is a great director (I won't argue with that; in fact, he's one of my favorite directors) and he can't make rubbish (even though he can and has done so often).
If you adore the master, you're a "faithful" movie lover, and perhaps even an intellectual. So, praise without analyzing. This is not the first or last time when the perception of some people is programmed by certain attitudes and conventions. Their judgment is prearranged. It's sad, but it's a fact.
What will we see if we set aside prejudices along with the once-renowned name of the greatest director? What we'll see is honestly weak, drawn-out, and meaningless cinema. Almost without any positives or strengths. Someone needs to say it. Well, let it be me.
The film's theme is as simple as can be. In the world, there are greedy and cruel people willing to do anything for power and money. They will go to any lengths just to achieve their goals. And the new film by Scorsese tells about their actions, as well as the consequences of their deeds.
And the Native Americans don't play a special role here; they can be replaced with any other ethnic group. For the core of the story, it won't make any difference.
Well, what a surprising fact, what a great topic! It's like they've never made movies about it before! They have, a lot. Even Scorsese made movies about it. And much, much better ones (all of his gangster films, including those about the thirst for power and human nature). And this was many decades ago.
However, the film is completely without of decent and touching drama. In this story, essentially, there isn't even a positive character. Or a character who would initially be negative and then, after going through fire, water, and moral torment, would become positive. The problem is that DiCaprio's character—not only surprisingly spiritless and entirely uninteresting (primitieve organism), but also a negative character. He doesn't oppose the evil embodied by his uncle (DeNiro's character), he crawls before this evil and complies with it.
Speaking of the film's duration again(: 3 hours 20 minutes!), it's totally unjustified. The whole trivial story could have been presented compactly and gracefully in 1.5 hours. But even that wouldn't have made the film good.
There was simply nothing worth showing for over 3 hours. Nothing. And Yet, Scorsese insisted on producing unnecessary scenes, unnecessary shots, and unnecessary characters with admirable persistence. You know why? Because he's used to doing it. Many of his recent films run much longer than the usual 2 hours. And a long duration is a sign of mastery, a sign of seriousness, a hallmark of the great ones who can afford it (and people will watch them even with such excessively inflated duration).
" So What else? you ask me. The movie is completely devoid of intrigue and complexity. Everything in it is transparent from the very beginning. Who is The villain is clear. What he does and will do is also clear. All the moves and turns of the movie are obvious. What will stop him is also evident. How will he be stopped? It's banal and uninteresting.
The main character, as I've already mentioned, doesn't evoke any sympathy at all. And how could he? Moreover, DiCaprio plays his character with 2-3 emotions and the same facial expression. And I'm definitely not blaming DiCaprio for this. It's clear that it was the director's intention, and DiCaprio followed it.
Look at the early works of renowned directors and their latest films made after 60-70 years. It's always the same. Everything has its time. And it's better to understand when to stop.
If you analyze cinema rather than judge it conventionally without using your head, it's better not to waste time. Scorsese's previous film, "The Irishman," was exactly the same stretched-out nonsense and boredom. A pale shadow of his early films, which rightfully occupy a place among the best genre works in the history of cinema.
Better rewatch "Goodfellas," "Casino," "Raging Bull," "Taxi Driver," or even "The Wolf of Wall Street."
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