
The Departed
1 of 1 people found this review helpful.
The Departed
Martin Scorsese's underworld thriller The Departed opens with a voice-over from its larger-than-life villain, a Boston crime lord played by Jack Nicholson who declares, "I don't want to be a product of my environment; I want my environment to be a product of me." It's the most personal statement in this highly commercial movie: Scorsese's most popular and critically acclaimed films have defined the violent urban drama (Taxi Driver, Raging Bull, GoodFellas), but through a series of ambitious and eclectic projects he's resisted being defined by it himself (The Last Temptation of Christ, The Age of Innocence, Kundun). One needn't be a ruthless mobster or a restless film director to understand these antithetical urges -- we all yearn to belong somewhere, but that sense of belonging always exacts a price, usually in the form of allegiance. If ever a Scorsese film was one for the fans, The Departed is it. You can just imagine him lining up the next head-splat gunshot scene, muttering, "Just when I thought I was out, they pull me back in!"
A remake of the 2002 Hong Kong cult hit Infernal Affairs, The Departed transplants the action to South Boston, but the location doesn't really matter; the two operative cultures here are the state police and a local mob run by the monstrous old-timer Frank Costello (Nicholson). The complicated plot involves two young spies, each groomed for years to infiltrate the opposing side. Billy Costigan (Leonardo DiCaprio), a promising but volatile young cadet with family ties to Costello, is recruited by the upstanding Captain Queenan (Martin Sheen) for a years-long undercover mission: he'll be convicted of felony assault and expelled from the force, and after serving a prison term he'll work his way into Costello's gang. But long before this plot is hatched, Costello is positioning his own rat: Colin Sullivan (Matt Damon), a loyal kid from the neighborhood who becomes a state trooper and wins an assignment to a special investigative unit on organized crime. Neither spy knows the other's identity, and as each settles into his secret lifehe begins to lose track of himself.
It's a classic doppelganger setup: Sullivan and Costigan may be mortal enemies, but they have more in common with each other than with anyone else. Sullivan is orphaned and living with his grandmother when Costello comes into his life, and the mobster's patronage gives him a sense of place that's worth more than any amount of easy money. Costigan had spent his childhood shuttling between his mother's North Shore home and his father's low-rent digs in Southie, and for him a state police uniform is a symbol of stability. Both young men identify strongly with their respective father figures, and each is confronted with the paradoxical situation of defining himself by posing as something he's not. ("We deal in deception," Queenan tells Costigan. "What we do not deal with is self-deception.") For each character the rub comes when his patriarch is suddenly removed from the equation and his link to his original identity is erased -- the cop suddenly finds himself mired in a life of crime, and the criminal is safely ensconced in the law enforcement community.
With its welter of double crosses, The Departed is completely engrossing, a master class in suspense. But in moral terms it may be the least involving story that Scorsese -- an artist much preoccupied with morality -- has ever taken on. Costigan spends years working for Costello, un
Review ID: 10000000004685527

Thank you for voting. If your vote meets our
guidelines, it will be posted within 24 hours.
You cannot vote on the helpfulness of a review you wrote.
Your request cannot be processed at this time. Please try again later.