Killers of The Flower Moon is Scorsese’s latest film, a Western-ish epic (more late-frontier) that follows a few of the perpetrators of the Osage Indian murders, particularly Ernest Burkhart and his mastermind uncle, William King Hale. It also morbidly happens to be one of the best case studies for the evolution of vintage menswear in modern cinema.
Admittedly, I wasn’t previously familiar with the crimes committed against the Osage people in the 1920s but I do recall this being referenced up around the time that mainstream people were starting to learn about the Tulsa Race Massacre. It’s always a bit odd to “spoil” yourself for a historical movie, but I do think reading about what happened is always a good move. It really does go to show just how evil people can be in their pursuit of money, especially when it comes to white Americans of the period. The amount of people who happily went along with everything (from the hired hitmen and the corrupt doctors to the price gouging funeral directors and car salesmen) is despicable.
Because this film follows its characters from 1919 to around 1926 (if we follow the real life timeline), we get a very good glimpse into how tailoring and general men’s clothing changed over time. Throughout the movie, we do get to see stiff collars and ties with wild shapes give way to the more “standard” menswear stylings we are used to today. Of course, the changing times are a bit of a theme of the film, as seen through people’s surprise at Federal intervention as well as updates to architecture being quite obvious: we see the ill-fated Burkharts move from a Second Empire/Queen Anne style to a more “modern” Craftsman/Bungalow. In that way, quite a lot of things are signaled through each character’s clothes and their possessions.
The spineless Ernest Burkhart, played by Leonardo DiCaprio, starts out the film wearing his WWI uniform and quickly switches to what might pass for “business” wear when he gets a job chauffeuring the Osage people around: a navy wool suit, flat cap, a tie, and a work shirt. This was a move done a lot back in the 1910s and early 1920s, especially by those who did not have enough money for proper dress clothing. He gets wealthier over time (because he marries Mollie Brown for her headright money) and this is clearly shown in his clothes as he starts to wear linen suits, a beautiful blanket coat, and a big ‘ol cowboy hat. There is even one scene where he wears a novelty suit which was typically purchased by young rich guys in the late 1910s and early 1920s. However, he still mixes in workwear with his tailoring, presumably due to his undeveloped taste; it’s quite clear that he simply follows what his authority figures tell him to do. There is no Oppenheimer uniform here, just clothes that seem hobbled together on the fly because that’s what Ernest does.
King Hale is quite a contrast to Ernest, who is always immaculately dressed in suits, sometimes complete with an odd vest which was common to the time. With his stiff collars and more sensible hats (not novel), there is a gravitas to King that to me, shows that he really does control this town. He’s old, but he’s also “modern” in his mindset, as he is clear that he has to keep up and do whatever it takes to survive in the changing world. And for him, that means orchestrating truly evil acts (as was the case in real life).
The rest of the White people in the film get proper period costuming, with much of it being vintage; extras wearing true vintage is actually common as most filmmakers prefer to make custom clothing for their principal cast. However, what makes this film really interesting is that we get to see elements of Western style mixed with “classic” tailoring. Guys wear western-placket shirts with trousers, big Stetsons with what would be considered a “normal” suit, and a few bandanas and neck scarves in place of a tie. The vibe feels very adhoc and improvised, which makes sense with the scheming and opportunistic White characters in the film.
It’s only until we see Bureau agents and federal prosecutors that we start to see the Golden Era Vintage that I normally share. All of it makes for a very interesting film to look at from a costuming perspective, especially when you consider that other period films either focus on metropolitan areas or are firmly placed into the truly Western eras.
However all of this pales to how great the costuming of the Osage was in the film. I am not an expert in indigenous people’s attire, but everyone looks so beautiful and well done. The film starts and ends with the Osage, with multiple instances throughout the story sharing how they have kept their traditions and people alive in the face of what can literally be described as White Terror. It’s very cool to see how a few Osage in the film combine their traditional dress with Western clothing, showing that despite a bit of assimilation, they will not be fully taken. This is shown during scenes with Tribal leaders, ceremony scenes (weddings, Christening, and funerals) scenes, as well as through Mollie and her sisters who are particularly seen combining early Flapper attire with Osage blankets and jewelry.
As much as the clothing is enjoyable to notice and comment on, it does not stop the movie itself from being a hard and punishing watch, obviously due to its subject matter. It does not shy away from showing you the evil of King Hale, Ernest (and his brother Byron) Burkhart, and the many townspeople who were participatory in their crimes. The only “saving grace” is that the film explicitly shows you just how pathetic and bumbling they are, though that doesn’t stop them from committing truly heinous acts to the Osage people. In fact, as is the case in a few Scorsese films, the villain protagonists largely get away with it.
We discuss Killers of The Flower Moon on our latest bonus podcast! You can listen to the beginning below, but you’ll have to subscribe on Patreon for the full episode (as well as to gain access to our Discord community). Now enjoy some existing articles on the clothing in the film as well as a few selected photos showing the expert costuming.
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