Watching Jack Nicholson ply his craft when
he’s firing on all cylinders is one of cinema’s great experiences. It’s
something we’ve been deprived of since 2006 and his ‘no-one can top me’ performance
as Boston Irish Mafia boss Frank Costello in THE DEPARTED.
Frank’s a man obsessed with uncovering the
rat in his organisation, but Jack’s the one chewing at the scenery. Costello is
a uniquely Nicholson creation. When he speaks the film’s opening line, “I don’t
want to be a product of my environment. I want my environment to be a product
of me” it can be taken both as Costello wanting to shape the world he lives in,
and Nicholson dominating the film he’s acting in.
He draws on his decades of experience and
legend building to create a character that – until the Whitey Bulger trial –
most of us non-Bostonians believed could only exist in a film. Costello’s
evilness is operatic in scale and appearance. It’s a mark of his acting
brilliance that he manages to go over-the-top without taking it too far. When
he’s on-screen it’s like he’s in Technicolor and everyone else is black and
white.
And it’s to the immense credit of director
Martin Scorsese that Jack gets the space to be Jack without overwhelming the
story to the detriment of the rest of the cast. Costello is the most colourful
character but he gives his co-stars plenty of room to do their thing.
This story of lies, betrayal, and sacrifice
was a welcome return to form for Scorsese, reminding us of the storytelling
skills which earned him the title of “world’s greatest living director” in the
1970s and 80s, and winning him the Oscar for Best Director (the film also
picked up Academy Awards for Best Picture, Best Editing, and Best Adapted
Screenplay). It’s a title I believe he fully deserves, but it’s also been a
burden because everything he’s produced in the decades since has been measured
against those earlier works. THE DEPARTED is not in the same category as “Taxi
Driver”, “Raging Bull” or “Goodfellas” but it comes close. It certainly deserves
to rank alongside “Casino.”
Matt Damon is Colin Sullivan, an arrogantly
cocky and ambitious Massachusetts State Police officer with seriously divided
loyalties. Growing up, his surrogate father was Costello, so when Sullivan gets
into the force it’s natural that he keeps Sullivan informed of law
enforcement’s attempts to build a case against Boston’s number one criminal.
Leonardo DiCaprio plays Billy Costigan, a
fellow Massachusetts State Police officer who goes
undercover as a member of
Costello’s gang to help build that case. It soon becomes clear to Costello and
the police that each has a traitor in their midst, and Costigan and Sullivan
are tasked with discovering the identity of the rat.
Damon is icily impressive as the cold,
devious and manipulative cop who’s completely unable to feel any genuine human
emotions, while DiCaprio’s greatest achievement is to make you forget you’re
watching tabloid tv’s favourite pretty boy superstar heart throb, and instead
appreciate him as a serious actor totally dedicated to his work.
THE DEPARTED returns to one of Scorsese’s
favourite themes – the family. There are repeated references to the importance
of knowing where a person comes from and who his people are, when deciding
whether or not they are trustworthy. Sullivan stands out in having no discernible family history, and he makes it clear in one scene with his
girlfriend that he wants no childhood photos on display in their apartment.
The irony is that for all the talk about
the importance of family in judging character, no one has what could be
described as an ideal family. The only effectively functioning family are the
tribal ones – the Irish, and the police. Senior figures within each fulfill the role
of father figure; Costello for the gangsters, and Captain Oliver Queenan
(Martin Sheen) for the police.
The three big names aside, there are so
many other superb performances to savor in this film. Alec Baldwin, Ray
Winstone, and Mark Wahlberg, who bagged himself a best supporting actor Oscar
nomination, are all class acts. The one weak link in the project is Madolyn,
the police psychiatrist, played by Vera Farmiga. She’s so flaky and unstable
that she falls apart at the first hint of conflict or resistance. She’s just
not credible as a professional whose job it is to counsel hardened police
officers and offenders on probation.
Madolyn is thankfully a minor irritation in
what is otherwise a masterful and exciting drama which building to a bloody and
shocking climax. Scorsese finally got his hands on the best director Oscar in
2007 after 5 previous nominations not because the Academy felt guilty for
having passed him over so many times in the past, but because he richly
deserved it.
zmovies - An absolute disappointment of the remake of the Hong Kong version. It totally lost the spirit of the original version and poor acting from both Damon and Dicaprio. No surprise from Nicholson either. It was a real surprise that this movie could have won so many Oscars, especially Best Director for Martin Scorsess. It just shows how pathetic the Oscar Committee is. I would strongly recommend anyone who really like this move to watch the Trilogy Version from Hong Kong. Much better acting from Andy Lau and Tony Leung with tension throughout the whole movie and full of surprises. Perhaps Martin Scorsess should never have adapted this movie from Hong Kong... a huge cultural difference.
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