![Martin Scorsese’s “Blood Moon” will be a sensation [RECENZJA]](https://ocdn.eu/pulscms-transforms/1/YbMk9kpTURBXy8wYWFiYWMxNDJkM2U4YmU5MjEwNThhMzhmYThiNjAyNy5qcGeTlQMAzQINzRdwzQ0wkwmmOTQ4N2YzBpMFzQSwzQJ23gABoTAB/robert-de-niro-i-leonardo-dicaprio-w-filmie-czas-krwawego-ksiezyca.jpg "Martin Scorsese’s “Blood Moon” will be a sensation [RECENZJA]")
The premiere of “Time of the Blood Moon” received great attention at Cannes this year, and Marty’s presence on the red carpet accompanied by Leonardo DiCaprio and Robert De Niro in the lead roles was, for many people, a beautiful moment of celebration. Cinema.
The entire atmosphere surrounding the film was heightened by the director’s melancholy statement that appeared on social media – about the sense of inevitability of the passage of time, which he no longer needed to create. Because although he claims that he is only now feeling the essence of the power of cinema, at the same time he realizes that there is very little time left for creativity.
Although the production faced some controversy, the nearly four-hour story of the murder of Osage Indians is a classic — and perhaps over-the-top — example of Marty: a brilliant storyteller, fascinated by the United States and his country’s capitalist history.
Lily Gladstone and Leonardo DiCaprio in “Bloody Moon”
they Sometimes From a Blood Moon has been in the works for years, mainly by rewriting the screenplay concept, which It was based on David Grann’s book of the same title. The film’s script was initially intended to celebrate the birth of the FBI, but after speaking to indigenous people in the Osage, where the film is set, Scorsese changed direction.
In order to faithfully reflect the facts of history, the American director made large-scale filming research, and artistic sponsorship was provided by the descendants of the families of the people whose fate we see in “The Time of the Blood Moon.” In it, Scorsese talks about a series of murders that occurred in the 1920s. It led to the ethnic cleansing of the Osage Indians, from whom the whites were constantly making money — and gradually becoming bolder in entering the colonized lands they claimed as their own.
It mainly concerned white men marrying Osage women who had land rights. If there is land, there is money, there is an investment opportunity, and therefore there is a future vision.
When Ernest Burckhardt (Leonardo DiCaprio) returns from the war, he immediately becomes part of this system, and thus its beneficiary—he quickly marries Molly, whose family owns this land. However, the problem is that women (including Molly’s sisters) begin to die under mysterious circumstances, and the harmony of Osage society is threatened by disruption, despite the best efforts of William Hale (aka King Hale, played by Robert De Niro). . Who cares about prosperity, homeland and whiteness.
Janie Collins, Lily Gladstone, Cara Jade Myers and Gillian Dion in “Bloody Moonlight”
because of “Moonflower Killers” Marty attempts to review the neocolonial blots on the map of US history. In silent, cinema-style scenes, he introduces us to the context of history in the form of a mini-lecture. In this way, he examines the background of events from the beginning – and revolves around what has been driving the American economy for years: oil.
We soon realize that the history of indigenous killings is in fact a capsule history of American capitalism, and that Scorsese’s novel resonates cinematically with Paul Thomas Anderson’s There Will Be Blood (2007).
The main difference is that Scorsese digs into the psychological depth rather than the humorous tone of his story. He’s not looking for an existential break because he is, above all, the kind of director who has for years entertained fairy tales about gangsters with childish relish – and that is the film’s greatest asset and criticism.
Leonardo DiCaprio and Lily Gladstone in the movie “Bloody Moon”
As the creator of “Goodfellas” and “Casino,” he once again vents his fascination with the world of gangsters, where money sets the rules — both in terms of the local climate of Osage County and the direction of the narrative. And that’s true, even if it’s a Scorsese classic – this one Storyteller About the skill of the acting and the subtlety of the dialogue that constantly winks at its audience – unfortunately, it changes from a story about colonialism to a story about white men who just want to get rich.
This lecture is both a bit fascinating and a bit tiring – especially when you have to devote over 200 minutes to the film.
However, I would question the validity of the choice of Leonardo DiCaprio for the role of Ernesto – he is, in fact, a great complement to a character whose role relies mainly on dialogues, delivered clumsily by the American actor with a southern accent; But on paper, Ernest is a lost man somewhere in the early thirties of his life (DiCaprio is approaching fifty), and fate throws him the idea of starting a family (and his beloved uncle).
However, in my opinion, I have the energy and charisma of Jordan Belfort, which is why the palette of intense bitterness that gradually emerges in Ernest’s life (and on his wrinkled face) is not necessarily convincing.
DiCaprio is certainly great to watch anytime, anywhere, even when he’s going through a personal crisis (like Tarantino); Especially when paired with De Niro. However, I get the impression that the role was completed in order to complete the story, which was originally supposed to look a little different. Especially when the original literary script was rewritten to give Leo more screen time.
Lily Gladstone and Leonardo DiCaprio in “Bloody Moon”
After the first trailers came out, American audiences began to doubt the actor’s language skills – Liu’s southern accent seems forced and far from authentic. Again, this does not mean that the choice was reprehensible; Along with De Niro, they remind us of their comedic potential, especially when the latter falls into the register of parodying the obnoxious uncle image, which he has recently developed in sitcoms of questionable quality.
But let’s go back to Scorsese; Marty is just Marty. After all, his film is a story about the United States. The beginnings of the gangster (even if somewhat nascent and clumsy), the lens of racial identity and racial conflicts, the rewriting of history, the dialogue with the Western genre, and finally the beginnings of the FBI, whose existence we see at the beginning – all of this adds up to the overall identity of the United States And multi-faceted.
Scorsese is true to himself and to his mission of reliably conveying the facts of the crimes committed in the 1920s. He did not tempt me, but the admiration that followed the first presentation of the Master’s return to form can be felt.
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