The Departed (Widescreen Two-Disc Edition)

I read some of the other reviews, and I'm frustrated that so many people are finding a problem with Martin Scorcese's sensibilities in adapting a Hong Kong -set thriller to an American venue, using his legendary experience to create a very American "original". I was immensely entertained, baffled at all the intended times, intrigued at the appropriate times, and thoroughly blown away with the remarkable ending. Others have blabbed away plot-points, and I'm glad I didn't read those reviews before I saw the film. There's no doubt that Scorcese is deserving of Oscar recognition, and trying to make comparisons to his other films doesn't fly with me. This was a brutal display of some very mean people, but not as gory as "Goodfellas", not as character driven as "Raging Bull" and not as gritty as "Taxi Driver". It WAS, however, a terrific plot-driven narrative, and Mr. Scorcese should be applauded for taking this very complicated story, where each character is constantly affecting the others, and making it coherent. Nicholson was, indeed, playing a familiar version of Nicholson, so it was a natural choice in casting but no stretch for the great Jack. The 2-disc DVD is fine, with ample interviews with Mr. Scorcese, and other interesting stuff, especially about Bulgar, the guy after which Nicholson's character was based. Very glad I made the investment. BTW: The sextet from "Lucia di Lammermoor" is by Donizetti, not Puccini. UPDATE: 2-26-07: I'm glad it won the Oscar.

Based on the Hong Kong thriller, "Infernal Affairs" (2002), Martin Scorsese's "The Departed" is a shotgun blast to the pandering cinema that has afflicted the American screen of late. Scorsese has returned to the urban crime-drama genre that he helped to make famous with "Mean Streets" (1973) and "Goodfellas" (1990).

Scorsese, a consummate auteur, shares many thematic interests with his screenwriter, William Monahan. A Boston police officer, William Costigan (Leonardo DiCaprio), goes undercover in the local mob with the hope that he may purge himself of his family's criminal history (redemption and honor being major themes in Scorsese's films, such as "Gangs of New York"). Costigan's job is to provide enough evidence to allow the police to apprehend the head mobster, the lurid and merciless Frank Costello (Jack Nicholson). Costello has infiltrated the police force with a mole of his own, Colin Sullivan (Matt Damon), who Costello has been grooming since childhood (corruption being another important theme for Scorsese, see "Goodfellas"). Each of the moles quickly becomes aware of the other's presence, and they both realize that if either is going to survive, he must quickly find his opponent.

Monahan lathers his screenplay with the most vulgar language this side of Quentin Tarantino's "Pulp Fiction." Supporting actors Alec Baldwin and Mark Wahlberg, who both play upper level officers, deliver deliciously profane dialogue with side-splitting ease and authority. Matt Damon infuses the antagonistic Sullivan with poise, sophistication, and charisma. Leonardo DiCaprio's protagonist is conversely something of a blunt and unstable instrument. DiCaprio's work recalls that of James Dean, as he plays a frazzled young man waging war with the world and within himself. Surprisingly, screen legend Jack Nicholson is something of a weak link in the cast. He uses his trademark mixture of charisma and menace in a familiar and admittedly somewhat goofy portrayal of villainy.

The real star of the film is Scorsese. Taking a cue from an early exchange between Wahlberg's character and Costigan - "What's the matter don't you know any Shakespeare?" - Scorsese's presents the film as though it were one of the playwright's tragedies. Tragic and comedic tones are expertly juxtaposed. Music, be it classic rock or Howard Shore's score, is ever present. The Rolling Stones' "Gimme Shelter" is used to great effect during the film's opening. It acts as a harbinger of things to come. Violence is explosive and brutal. Michael Ballhaus' lighting is atmospheric and exaggerated. Note a scene in Sullivan's office where a bizarre light effect casts an X across the wall (Scorsese litters the mise en scène with X's, both as an homage to Howard Hawks's "Scarface" and a visual representation of Sullivan and Cositgan's duality). Relentless camera movement and Thelma Schoonmaker's jump cuts further give rise to a sense of nerve-jangling tension.

Under Scorsese' own admission, "The Departed" is his first attempt at a film with a plot. On paper, the film does indeed represent one of his more traditional, studio-friendly ventures. He is working with a very bankable cast and a three-act narrative (most of his films have been more concerned with character studies than a archetypal stroyline). Despite the creative limitations that may be associated with a more commercial project, Scorsese is more than able to elicit his own passions. "The Departed" is a fierce, raucous entertainment that is not to be missed.

The moment the movie opens with a voice over from Jack Nicholson, "I don't want to be a product of my environment, I want my environment to be a product of me", and the Stones' "Gimme Shelter" comes blaring on the speakers, I knew I was in for a treat. Make no mistake, this is a movie of Scorsesean proportions, who continues to prove that he is eons ahead of the majority of people in Hollywood who claim to be directors. Having thoroughly enjoyed the Hong Kong movie from which this was based on, Infernal Affairs (or Mou Gaan Dou, as my friends call it), my expectation for The Departed was through the roof. Never one to disappoint, Scorsese expands the canvas that this movie was based on, breathing life to the characters, delving deeper into human emotions of not only the two leads, but those around them...and he has painted his masterpiece. I can safely say, this movie elevates movie making to the next level, surpassing some of Scorsese's earlier classics, The Goodfellas and Casino.

The story is brilliant in it's simplicity. The Irish mob in South Boston is headed by the ruthless, Frank Costello. Always one step behind him, lurking in the shadows is Detective Queenan who is dead set to apprehand Costello by whatever means necessary. Colin Sullivan is picked by Costello to enter the Massachusetts Police Academy as a cadet, and he eventually rises to the rank of detective in the Special Investigation Unit, and is Costello's eyes and ears in the police. By a cruel twist of irony, Detective Queenan has the same idea and sends rookie Billy Costigan, who has ties to the Mafia family, to infiltrate the Irish mob and report Costello's activities to the police. Things go as planned until both parties realize they have a mole amongst them. A cat and mouse game begins, to uncover who the mole is. The difference between this movie and the many out there, is that both groups consist of intelligent people constantly out-thinking one another. They match wits, and there are many exhilirating moments in the movie, where you're not sure who's going to win.

Personally, what I really liked about The Departed is the moral implications this movie questions. Colin Sullivan and Billy Costigan are two people thrown into two complete different environments. Sullivan thrives in the new environment. He advances very fast, and is even contemplating starting a life with Madolyn, a phsyciatrist he met. Costigan however, is trapped in what he has been trying to escape his entire life. When he is with the mob, he shows no fear and has an air of bravado about him. But inside, you see a tortured man. He resents the kind of person he has become, to see the things that he has seen, to do the things that he does. Which brings me to my next point, put in that position on a long enough timeline, do you become that person? Do you become another person than what you set out to be? Towards the end of the movie, it is clear that this is no longer a battle between good and evil, right or wrong...it is about identity, knowing who you are, or who you want to be. This, to me is the epitome of great film making, movies that not only entertains, but challenges you to think.

Of course, conveying or strengthening this message is no easy feat, but this is where the acting comes to play, and I cannot think of a cast more talented than what Scorsese has reeled in here. Leading the pack is Leonardo DiCaprio playing Billy Costigan. I have stated time and time again, he is one of the brilliant actors of our time. Costigan is a violent man, yet he has a vulnerability accentuated when he is alone or with his phsyciatrist, Madolyn. Playing a bad guy is not easy, and you can see his decision weighing down on him. Exceptionally portayed by DiCaprio. Matt Damon plays Colin Sullivan like the two-headed snake that he is. Sullivan is not a decent man, you can practically see the wheels turning in his head, concorting his next deception. Even when the odds are against him, he comes up with a plan or a lie. And the role of Frank Costello seems custom made for Jack Nicholson. Playing a crazed, demented, sarcastic old man is nothing new for Nicholson, but unlike his many other movies, here he doesn't go overboard with it. He keeps it at bay and makes calculated risks. Costello has the attitude that provokes fear and Jack Nicholson easily manages to do just that. Supporting these fine actors are excellent performances from Martin Sheen, Mark Walhberg, Alex Baldwin and Vera Farmiga. Mark Walhberg especially is in fine form. Not since "Boogie Nights", have I seen such a splendid performance from him.

Another thing that impresses me about the movie is the way the story unfolds and the cinematography. In true Scorsesean style, the script is peppered with trademark scenes that stick in your mind. The camera shots were marvelous and sets the tone for the movie. The violence is gritty and real. No excessive and unnecessary sound effects here. And there are humorous moments in the movie which actually works in favour to some of the scenes. I have watched this movie 4 times and like an onion, there are layers that upon peeling, you find new appreciation for. Another noteworthy aspect of The Departed is the music selection, handpicked by Scorsese himself. It's a throwback to the glory years of rock with The Rolling Stones, Van Morrison, John Lennon and The Allman Brothers. It blends perfectly with the movie and definitely adds to the cool factor, if anything else.

This movie has already been nominated for a slew of awards and who knows, Marty might finally win the Oscar that has so far eluded him all these years. This movie might not be for everyone, but I can assure you, if you're looking for an intelligent movie that not only entertains but leaves you thinking, a movie with unrivalled performances from it's star-studded cast, look no further...this is it. Leave it to Scorsese to take an already excellent movie and lift it up to dizzying heights in what I feel is a true representation of a modern day crime classic, The Departed. Definitely a step forward in America cinema, highly recommended!

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