Based upon 2002's Hong Kong crime saga Infernal Affairs, The Departed takes the original's basic premise and weaves an intricate police story set in Boston. Featuring an outstanding, stellar ensemble cast means Scorsese's movie packs a huge dramatic punch. Jack Nicholson is the movie's lynch pin, eating up the scenery whenever he's on-screen, his character Frank Costello a ruthless, twisted and powerful presence. That he doesn't quite steal the movie is testament to the entire cast's strength. Leonardo DiCaprio is incredible as Billy Costigan, a cop forced to work undercover within Frank's clique, he brings a hard edge to the character that is thoroughly convincing. Also worthy of note is Mark Wahlberg's acerbic Sergeant, a foul mouthed, intimidating bastard who'll never let a chance to relentlessly prod and verbally harass his colleagues pass by. Matt Damon, Martin Sheen, Ray Winstone, Alec Baldwin and Vera Farmiga all deserve to be mentioned as there isn't a weak link amongst the players, every performance pitch perfect. Kicking off with a prologue typical of Goodfellas (1990), with it's Rolling Stones soundtrack, the movie drags you in from the off and doesn't let go. It's the most engrossing Scorsese picture since Casino (1995) and also the director's best in a long time. Simply put, this is a Scorsese film in every sense. The violence is sudden and shocking, bloody and graphic. Boston is brought to life in gritty detail, a looming urban backdrop to the twisty-turny plot.
Anyone familiar with the original will think they know what to expect, but will be pleasantly surprised to learn that The Departed is no mere lazy retread. Arguably, Scorsese's movie actually manages to outstrip the original in terms of emotional intensity. The character's all reach a peak of emotional turmoil, events moving at such a pace, action escalating towards its conclusion that it leaves you hanging from the edge of your seat. What it does lack however is the character dichotomy that exists in Andrew Lau's Infernal Affairs. Lau's film is more thoughtful and steadily paced where Scorsese's is fast, punchy and explosive. However, both films deserve to be seen and judged on their own individual merits.
So, go see The Departed and if you haven't seen Infernal Affairs see that too. Both films are indispensable and the bottom line is that The Departed is Scorsese's best since Casino, hands down.
*****
DISCLAIMER: Despite negative opinions expressed in the following article the author is a big comics fan. I'm very pleased to see comic adaptations getting proper budgets - it takes cash to make superheroes look convincing on film and allows artists in the movie biz to really go to town. Ok, many are not successful critically or with the fans but compared to the two Spidey joints from the 70s or the 1991 Captain America movie, they're fucking masterworks.
Still, cinematic shit stains become rife when so many films are churned out by directors and studios that care not for integrity or detail. I could devote a whole website to these criminals. For every Spider-Man there's a Fantastic Four, for every Sin City there's another dirty Alan Moore adap. While the X-Men movies are watchable in a non-committal, large-popcorn-large-drink kind of way, they're also pretty unmemorable. "But how about that great scene with the...nah, it's gone. Sorry."
If there's one thing I hate more than a shitty comic book adaptation its Vinnie Jones in a shitty comic book adaptation. It's a tragic fact that the VJ brand is now forever associated with X-Men history and the character Juggernaut. I haven't seen the film (I fear it) but The Shed tells me Vinnie injects the character with real English charm, spouting lines like "I need a piss!" and "I'M THE JAGG-A-NOWT!" Superhuman strength meets Mockney swagger, just as I'd always hoped. He must be reaching deep into the mysterious Brando-ether to pull out class like that. It's voodoo chemistry, part of a career series of acting lessons in which screen characters are distilled and reduced to being simply Vinnie Jones.
I can imagine the director saying "Ok Vin, in this scene you're feeling some major anguish, so I want you to wrap that sadness in a cloak of hot rage yeah?" Vinnie nodding, "Yeah...yeah...uh-huh" and then just doing what the fuck he wants when the cameras start rolling. But it's totally cool yeah, he's a friendly lad and all the crew like him. Likeability seems to be his appeal. I don't like him.
Looking back I prefer 'The Axe' in his Bacardi ads. He looks more impressive spinning in slow motion and wasting litres of alcohol than he ever could dressed as some gladiator clown. He looks like a bouncer 'really letting go' at a Halloween bash. Dude has been in 30 films in 8 years! That is insane. I thought he'd fade away nicely into early retirement, remembered for violence on the football pitch and squeezing a ball bag, but it looks like his square meaty head is here to stay.
Jone's Swordfish (2001) co-star Don Cheadle had this to say:
"Vinnie Jones was like, 'Come out to England, mate...' I was like, 'Not with you!' I like Vinnie Jones, but he'd probably take me to some spots I probably don't want to go." Yeah, like to a cinema to watch Swordfish...
Whilst I'm riding my high horse, here are some other shit movie comic punks: Chris O'Donnell as Robin. Just check the pictures for a taste of his uncut evil. What's he screaming at? "Hey photo-guy, aaaargh!" Who's he pointing at? "Don't laugh at my mask!"
Here's another, Jeep Swenson as Bane. He looks like the stock gimp in some bad 70s S&M flick. His arms look like they're made of papier-mâché. Nice shopping trolley, pal. (I haven't seen Batman & Robin either, I find prejudgement too enjoyable).
Landon Garrett for The Shed
'An actor's most valuable asset is his voice', a great actor with a great voice once said. More than familiar tics, a well-travelled face or the ability to undergo a complete 'method' transformation, an actor's voice is what marks him apart. A naturally piss whiny squeak of a voice cannot be disguised or forgiven. A true thesp must naturally project a distinct and prominent tone. Humphrey Bogart. Toshiro Mifune. James Earl Jones. Brian Cox. Arnold Schwarzenegger. It is no shiny happy coincidence they are some of the best actors to ever walk the earth (and indeed other planets in Jone's case, as voice of Darth Vader). And yet it's a sad mystery that most would forget to include another name on their list of personal faves: Harvey Fierstein.
Best known for his three self-penned plays The Torch Song Trilogy (1982-85) and the subsequent movie of the story in 1988, the works combined Harvey's talents for writing and acting and went on to become classics in gay theatre/cinema. Pooling his experiences as a stand-up, drag queen and columnist on gay issues, Harvey produced a piece of awarded and recognized work. Whatever. It's really all about Harvey's voice. THAT is the man's great talent, it's all you need to know. His 'gruff yet soft' voice is the real classic here.
This author first became aware of Harvey's work in the movie Independence Day (1996). Misunderstood by high brow pundits, the sci-fi extravaganza is nonetheless much-loved by small children and has since proved it's critical worth by generating $811,200,000 in worldwide box office (14th biggest worldwide gross of all time). Harvey's role as Marty Gilbert, the flamboyantly camp boss of Jeff Goldblum's journalist character was a real eye opener. Effortlessly weaving his acting style with the emotional landscape of the story, Fierstein danced beautifully between each scene. Light comedy early on, gritty drama with the rising panic of the alien invasion and finally a subtly played death as Marty is crushed by a falling car. It was a role that allowed Fierstein free reign with his voice, and rising to meet the heights of big 'event' cinema he soared with elegance and poise. Don't let anybody tell you otherwise.
It was around the time of ID4 that Harvey enjoyed some spotlight shine, working on Elmo Saves Christmas (1996), Kull The Conqueror (1997) (with the almighty Kevin Sorbo) and voicing one of Disney's most underrated pictures, Mulan (1998). Sadly for Harvey and the world it was a fragile level of success, much like Scott of the Antarctic - beaten in his pioneering race to reach the south pole, dying tragically on his return journey to base camp. All the respect but none of the glory, Harvey fell through the ice of Hollywood over-exposure and has struggled treading cold dark water for nearly a decade since.
We can only hope that a rumored 'Untitled Harvey Fierstein Project' TV series will go on to enjoy the same attention as recent hot shows like The Sopranos. Personally I hope it will feature Harvey dancing and singing (he is an accomplished singer) and reading monologues in an all white room, so we can really focus on his unique talent. Just Harvey, not even a chair or a microphone to distract the viewer; not even clothes, let the world see Harvey's raw naked ability. Each episode we will get a little more of the routine until finally, when watched in it's 24 hour entirety, viewers will burst into tears and know what they've missed all these years. They will know the name of Harvey Forbes Fierstein.
Landon Garrett for Heterogeneous Shed 2006
Based upon 2002's Hong Kong crime saga Infernal Affairs, The Departed takes the original's basic premise and weaves an intricate police story set in Boston. Featuring an outstanding, stellar ensemble cast means Scorsese's movie packs a huge dramatic punch. Jack Nicholson is the movie's lynch pin, eating up the scenery whenever he's on-screen, his character Frank Costello a ruthless, twisted and powerful presence. That he doesn't quite steal the movie is testament to the entire cast's strength. Leonardo DiCaprio is incredible as Billy Costigan, a cop forced to work undercover within Frank's clique, he brings a hard edge to the character that is thoroughly convincing. Also worthy of note is Mark Wahlberg's acerbic Sergeant, a foul mouthed, intimidating bastard who'll never let a chance to relentlessly prod and verbally harass his colleagues pass by. Matt Damon, Martin Sheen, Ray Winstone, Alec Baldwin and Vera Farmiga all deserve to be mentioned as there isn't a weak link amongst the players, every performance pitch perfect. Kicking off with a prologue typical of Goodfellas (1990), with it's Rolling Stones soundtrack, the movie drags you in from the off and doesn't let go. It's the most engrossing Scorsese picture since Casino (1995) and also the director's best in a long time. Simply put, this is a Scorsese film in every sense. The violence is sudden and shocking, bloody and graphic. Boston is brought to life in gritty detail, a looming urban backdrop to the twisty-turny plot.
