When Frank Costello asks a man how his mother is and he
replies that she’s on her way out, Frank’s rejoinder, “We all are. Act
accordingly,” sets a tone for the film. As the title suggests, death hangs like
a pall over Martin Scorsese’s The
Departed. It is a film in which most of the characters live with the fear
of death around them at all times. They are cops and they are criminal mafia.
The story is of two young men, played by Matt Damon and
Leonardo DiCaprio, who become embroiled in an elaborate plot to take down
Costello’s crime organization from one end and infiltrate the Massachusetts
State Police Force from the other. Damon plays Colin Sullivan, the mole inside
the State Police investigative unit for organized crime. He is recruited by
Costello as a boy in an extended prologue that introduces most of the major
players. Then there’s DiCaprio’s Billy Costigan, a new police recruit fingered
for a special deep undercover assignment to help bring Costello down.
Costigan’s unique circumstances as a kid from Boston’s
South Side who had a crossover upbringing on the more upscale North Side
preclude him from having a successful future as a cop, according to Captain
Queenan (Martin Sheen) and Sergeant Dignam (Mark Wahlberg). They feel his
family history, coming from a line of connected men, puts him in a position
that will make him easily accepted to Costello’s inner circle.
The film was adapted by screenwriter William Monahan from
the Hong Kong action film Infernal
Affairs, which remains unseen by me so I can’t really comment on the
adaptation. I can only look at The
Departed in isolation (which is all anyone should do except in a case of
specifically comparing the two) to see how the story works. The plot is
intricate and requires a great deal of concentration on a first viewing. One
thing Monahan’s screenplay must do that the original film either didn’t do or
did in a very different way is to inject the dialogue with sarcastic humor. He
does this mostly through Dignam’s character, who never speaks a line without
throwing in an insult with colorful language. As such I’ve always been slightly
baffled by Wahlberg’s Oscar nomination for his part here. The character is
one-dimensional, existing almost exclusively for comic relief. This isn’t
Wahlberg’s fault. There just isn’t really much there to work with.
Scorsese’s direction is full of vivacity in a way he hadn’t
really achieved since Goodfellas. His
camera almost never stops moving except in dialogue scenes, which are
unfortunately shot in a lot of close-ups that detract from the actors’
performances. He employs the usual rock and roll soundtrack to supplement the
emotional cues of the story and his longtime editor Thelma Schoonmaker keeps
scenes ticking along at a fast pace. The cutting of the scenes is so quick it
never feels like the film settles into a groove, but rather remains at the same
breakneck pace throughout.
As for the acting, Nicholson got a lot of press at the
time and was highly touted as a potential Oscar nominee. Watching the film
again now I’m not really surprised he didn’t make it. His performance is far
too over the top. It’s like he’s gone Al Pacino in his facial expressions and
big gestures. Damon is stronger and up to his usual standards. Costello’s
number two man Frenchy is played by the always reliable Ray Winstone. Alec
Baldwin has a hilarious turn as another cop in the Special Investigative Unit,
but the shining star is DiCaprio. His acting was always phenomenal, but I was
and still am stunned by his acting in The
Departed. He has to balance the two roles he’s playing: the undercover cop
and the criminal gangster. The crux of the story rests on his and Damon’s
shoulders and DiCaprio carries it through most of the film. He is, quite
frankly, unbelievably good.
The weakest link in the acting has to be Vera Farmiga,
who plays Madolyn, the only significant female role, a police psychiatrist who
has Costigan as a patient and Sullivan as a boyfriend. I remember seeing the
film for the first time and feeling that something about her performance irked
me in an intangible way. She doesn’t quite settle into the part and always appears
a little uncomfortable or out of place. Maybe that’s part of the point as she’s
caught between the affections of two men whose jobs entail deception. In her
job she always has to have her guard up for that kind of thing and she
knowingly allows one of these deceivers into her personal life while the other
sneaks in the back door by keeping his professional life secret.
Seeing the film this time I realized there are several
problematic plot holes that are never quite resolved, the most glaring among
them being that Costello has someone steal microprocessor chips used for
guiding ballistic missiles to their targets so he can sell them to the Chinese
government for a bundle of cash. China already has this technology so why would
they need to get it on the black market on American soil? Scorsese covers these
up with a lot of graphic violence and the fast pace to make you not really
think too much about them.
Still I’m willing to overlook these plot holes because
for one thing, most of them can be explained away with “just so” stories and
because tying up loose ends is not the metric by which this film should be
measured in terms of quality. For that I would turn to its exploration of the
themes of both death and identity. Admittedly, Sullivan’s character is slightly
underwritten. There could be a bit more development of who he is and how he
really feels about his relationship to Costello, the ostensible father figure
to both him and Costigan. Queenan is the softer, more approachable mother
figure to the two men. But Monahan and Scorsese get it just right when it comes
to Costigan wrestling with who he is with regard to the life he leads as a
criminal and how easily that line begins to blur after more than a year under
deep cover. Near the end as everything is falling apart he pleads that he just
wants his identity back. Costigan will have to manage several personal demons
before that’s even possible. This is ground that was covered just as well, if
not better, in Donnie Brasco almost a
decade earlier, but The Departed adds
the element of Costigan and Sullivan mirroring each other.
As for death, it awaits everyone. It’s foremost on both
Costigan’s and Costello’s minds. Costigan knows his days are numbered if he
stays undercover and Costello knows that eventually someone will try to usurp
his power. The departed in The Departed
are the previous generations – the fathers and uncles who served lives of crime
and have since passed on. They are also any semblance of a well put together
person in the form of both Sullivan and Costigan, who each die a little bit by going
into complete servitude for another. They are each on their way out as soon as
they take that leap. Once they’ve jumped they have no choice but to act
accordingly.
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