login/register

In South Boston, where the state police force is waging war on organized crime, young undercover cop Billy Costigan is assigned to infiltrate the mob syndicate run by gangland chief Costello. While Billy is quickly gaining Costello's confidence, Colin Sullivan, a hardened young criminal who has infiltrated the police department as an informer for the syndicate, is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the gangsters and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy--and each must race to uncover the identity of the other man in time to save himself.

A compelling plot, excellent performances and a few surprises even for those who are familiar with the original.

Scorsese has created a superb thriller drawing heavily on the talents of a heavyweight cast. Chief amongst these has to be Nicholson firing on all cylinders as the thoroughly evil, yet affable and charming Frank. As much as in Witches of Eastwick he's playing the Devil, and he has the devil of a time doing it too. DiCaprio is convincing as a man who is lost, from the world and himself. Damon possibly doesn't do so well, never really seeming to be as conflicted as he should. He's always interesting though and his scenes romancing Vera Farmiga are full of sparkle.

Familiarity with Infernal Affairs inevitably robs the plot of much of its surprise and suspense, so I can't really judge the film on these aspects, but Scorsese manages to keep the movie exciting and enthralling throughout.

This is the same as, yet very different to its source material. The Departed manages to keep the essence of Infernal Affairs whilst managing to be its own movie.

Martin Scorsese makes a welcomed return to the mean streets (of Boston, in this case) with The Departed, hailed by many as Scorsese's best film since Casino. Since this crackling crime thriller is essentially a Scorsese-stamped remake of the acclaimed 2002 Hong Kong thriller Infernal Affairs, the film was intensely scrutinized by devoted critics and cinephiles, and while Scorsese's intense filmmaking and all-star cast deserve ample acclaim, The Departed is also worthy of serious re-assessment, especially with regard to what some attentive viewers described as sloppy craftsmanship (!), notably in terms of mismatched shots and jagged continuity. But no matter where you fall on the Scorsese appreciation scale, there's no denying that The Departed is a signature piece of work from one of America's finest directors, designed for maximum impact with a breathtaking series of twists, turns, and violent surprises. It's an intricate cat-and-mouse game, but this time the cat and mouse are both moles: Colin Sullivan (Matt Damon) is an ambitious cop on the rise, planted in the Boston police force by criminal kingpin Frank Costello (Jack Nicholson). Billy Costigan (Leonardo DiCaprio) is a hot-tempered police cadet who's been artificially disgraced and then planted into Costigan's crime operation as a seemingly trustworthy soldier. As the multilayered plot unfolds (courtesy of a scorching adaptation by Kingdom of Heaven screenwriter William Monahan), Costigan and Sullivan conduct a volatile search for each other (they're essentially looking for "themselves") while simultaneously wooing the psychiatrist (Vera Farmiga) assigned to treat their crime-driven anxieties.

Such convenient coincidences might sink a lesser film, but The Departed is so electrifying that you barely notice the plot-holes. And while Nicholson's profane swagger is too much "Jack" and not enough "Costello," he's still a joy to watch, especially in a film that's additionally energised by memorable (and frequently hilarious) supporting roles for Alec Baldwin, Mark Wahlberg, and a host of other big-name performers. The Departed also makes clever and plot-dependent use of mobile phones, to the extent that it couldn't exist without them. Powered by Scorsese's trademark use of well-chosen soundtrack songs (from vintage rock to Puccini's operas), The Departed may not be perfect, but it's one helluva ride for moviegoers, proving popular enough to become the biggest box-office hit of Scorsese's commercially rocky career. --Jeff Shannon

	Enter your search terms Submit search form
	Web www.filmcritique.co.uk