A Review by Phil Calabro
2006, Warner Brothers, Dir. Martin Scorcese – Starring Matt Damon, Leonardo DiCaprio, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winston, Vera Farming, Anthony Anderson, Alec Baldwin, Kevin Corrigan, James Badge Dale, Robert Wahlberg
Martin Scorcese is a mystery to some film buffs: why won't the Academy ever recognize his work? I wonder myself, but as I continue to watch his latest projects, the answer becomes apparent. 'The Departed', much like his last film 'The Aviator', is a movie made for Marty. However, this time around, 'Departed' is much heavier and concentrated on its numerous storylines and characters. Albeit being a smidge overwrought at times, the director's newest is really a wonder to see. Adapted from the Hong Kong thriller 'Infernal Affairs', screenwriter William Monahan's script covers a lot of ground. Beyond its already thrilling concept, Scorcese uses the film as a platform for character studies and a regional touch - in this case, Bostonian culture. Scorcese's movies are all linked by his constant use of mental images and foreshadowing, including a haunting soundtrack to focus on key sequences. Despite its complexities, the film - one of Scorcese's recent bests - will possess audiences regardless.
Boston, 2006: Colin Sullivan (Damon) is a high-profile investigative officer for the city, leading a case against Beantown's biggest crime boss - Frank Costello (Nicholson). Under the leadership of FBI honcho Ellerby (Baldwin) and Police Chief Queenan (Sheen), Sullivan is one of the most trusted agents in town. Little do they realize, but Sullivan has been working alongside the evil Costello since childhood, purposely becoming a cop to serve as a mole. Meanwhile, the rebellious Billy Costigan (DiCaprio) wants to be a cop and is rejected by Queenan due to mental instability. When he has an unfortunate incident with Costello and becomes associated with him, the opportunity arrives for Costigan to serve as a mole for the police. Soon, Costigan and Sullivan are crossing paths - once the FBI receives word that there is a spy in Costello's gang, both officers search for each other in a wild goosechase.
Let me just cut to the chase: the reason 'Departed' truly succeeds is because of Jack Nicholson. The shark-toothed actor really bares his pearly whites through Frank Costello, a degenerate goon whose refined language and criminal expertise can fool a scholar. There's no denying Frank's street smarts, as both DiCaprio and Damon's characters are tricked into wading through his dirty business. Nicholson shines, incessantly giving the audience the personification of evil. DiCaprio's Billy Costigan is an honest but impatient character, someone whose rash behavior can leave the audience questioning his heroism. The young cop wannabe never seems fit for the job, but strives for the quiet life with no pressure from his remaining family. Damon's Colin Sullivan is a slimy prototype of Costello, a work-in-progress for the gangster. His dialogue is stuffed, his persona casual yet enervated. He's a good guy working on the wrong side of the tracks, and his act persuades audiences to hope for a reversal. Mark Wahlberg and Martin Sheen give strong supporting performances, rubbing their respective marks on the characters. Alec Baldwin steals the scene as an overly-conservative FBI agent with a no-nonsense policy.
This is as close as we get to New Hollywood in the 21st century. 'The Departed' has the intricate workings of 1970-era mysteries, with detached character analysis. Scorcese trims the story to its finest edge, especially with its low-key lighting schemes that run the line of film noir. 'The Departed' is the most epic crime film in the past five years, and revitalizes the age-old genre back into action. The movie works as a cultural piece, capturing the aura of Boston through its musty soundtrack and location filming through certain regions of the city. This fuels much of the movie, especially since much of the characters' camaraderies are based upon their relation to the dirty waters. And thematically, the final product is rich with it. Ideas of family, betrayal, and deception are pumping through the actors' veins - making Scorcese's adaptation all the more at heart with the audience. This is truly hard for me to put my finger on, but Marty has his way of tapping into the viewer's mind as to associate themselves with who they're watching. The characters are, after all, only human.
As the final credits rolled, I walked outside only to get a continuation of the film's last camera shot - a direct view of the Massachusetts State House. With its golden dome glittering in the moonlight, it was exactly what each of Scorcese's characters longed for. It was that statuesque position in the big city, that glimpse of redemption, and to be remembered.
