As advertised, no one really seems to be doing anything new in director Martin Scorsese's latest mobster thriller. Once again we find Matt Damon a spy, Leonardo DiCaprio with his shirt off, and Jack Nicholson acting insane. Even the director seems to be returning to the Mean Streets where he first gained his reputation, which many years later was cemented by the wildly successful Goodfellas. But although the material may seem familiar at first glance, it somehow still feels like we are seeing it for the first time. Chalk it up to the fact that not only is it a gripping tale of dual identity in a city plagued by organized crime, but it also happens to be a skillfully crafted tour de force by one of the industry's greatest filmmakers still working today.
Scorsese has said that he always intended for Damon to play the cocky Colin Sullivan, hotshot newcomer to the Boston State Police whose father figure happens to be the man his unit is assigned to hunt down. Damon plays a polar opposite to DiCaprio's Billy Costigan, a kid so messed up that he willingly trades on a privileged birthright to enter the worst parts of criminality.
Good casting goes a long way in this film, from Mark Wahlberg's thoroughly convincing depiction of a complete jerk, to Martin Sheen's underplayed good cop. Even Alec Baldwin manages to maintain a worthwhile presence. As expected, Jack Nicholson's fictional South Boston mafia boss Frank Costello dominates every scene in which he appears. Just as quick with his tongue as he is with his gun, Nicholson's significantly warped portrayal helps elevate the performances of everyone around him. Only Vera Farmiga's Madolyn struggles to refrain from succumbing to clichéd coincidence in a subplot that, although interesting, is unneeded. This minor critique aside, the ensemble's interactions manage to remain compelling for its lengthy running time.
Boston's Irish Catholic atmosphere plays a crucial role, but whereas The Boondock Saints flouts its religiosity, The Departed prefers a degree of Irish-American autonomy. Near the end, Costello can be seen wearing a shirt with IRISH emblazoned on the front, just in case the audience forgets.
The plot, inherently predictable in such a genre, relies on character development instead of gimmicky twists. Wisely, for the most part, the principles refrain from complete severity, instead supplying many moments of genuine humor. Besides being vulgar, mean, and intense, the film is also quite fun.
There is one gimmick that works well without seeming overly contrived; a smart addition to the story is how the modern mafia seamlessly transitions from the payphone booth to the cellular phone. Cleverly used in multiple instances, it makes text messaging look cooler than it ever has.
Visually stimulating, the cinematography never lets up with many instantly iconic compositions, ranging from nuns on the waterfront to a chase scene in Chinatown. The camera feels like it's part of the cast, allowing us a guest-spot in this gritty urban adventure. The compilation of jarring sound edits, quick cutting, and jolts of brutal violence produce an engaging experience. From the sudden riffs of Dropkick Murphys to Scorsese's running theme of the Rolling Stones' "Gimme Shelter," the soundtrack contributes ample mood to a film that revels in blood more than it does in style. One could argue that the filmmakers opted for death as the easiest way to clean up any possible discontinuity.
Adapted from a popular Hong Kong film, Scorsese doesn't attempt to expand from the genre as much as he does envelop his material in it, offering perspectives on the lives of rats and moles in the war on organized crime, in a way rarely seen before in American cinema. The two sides of the law are brilliantly juxtaposed in crosscutting that reflects the disparity between Sullivan, Costigan, and the personas they have adopted.
Excellent writing, superb technical craftsmanship, and realistic production values add to an authentic Boston backdrop that lends itself to the actors. DiCaprio, a standout in a cast that constantly improves on itself, silently exhibits what makes Martin Scorsese such a gifted director.
The Departed, one of this year's best films, will easily hold its own against the inevitable Goodfellas comparisons. As powerful as it is entertaining, it may not do anything outlandishly new for the mob film, but it certainly makes it cool again.
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