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The Departed

(it. The Departed - The good and bad)

color, USA, 2006 , Martin Scorsese

Duration: 149 minutes
Genre: Crime / Drama / Hard boiled
Cast: Leonardo DiCaprio (Billy Costigan), Matt Damon (Colin Sullivan), Jack Nicholson (Frank Costello) Mark Wahlberg (Dingam), Martin Sheen ( Oliver Queenan) , Alec Baldwin (Ellerby), Ray Winstone, Vera Farmiga .

Screenplay: William Monahan

Photography: Michael Ballhaus

Music: Leslie Howard Shore

Screenplay: Thelma Schoonmaker

Distribution: Medusa

Billy Costigan (Leonardo DiCaprio) and Colin Sullivan (Matt Damon) are two very different men: one forced by life to cross the territories delimited by evil, but the other choice, the first come through difficulties and sacrifices to the dream of working for justice, the other hand, you get there to pollute and corrupt it for the purposes of the underworld, he works for, and (as always) to their own. It seems that fate has chosen for their parallel lives, though fundamentally opposed, they complete their similar choices, but otherwise, mockingly putting them one by the side of evil (but for justice) and the other the side of justice (but for evil).

Billy becomes an undercover cop, without even having become the first policeman, at least unofficially, to protect the coverage - something the latter, which will require even end up in his cell for a given period, to be better accepted by the crime. Paradoxically, on the other side of the fence, Colin becomes a criminal infiltration, entering on behalf of the criminal police of the putative father Frank Costello (Jack Nicholson), and soon the hierarchy ladder, coming to occupy a place of importance throughout the department.

E 'a twisted game of mirrors and lights and shadows, through which, slowly, the two lives of the protagonists / antagonists are to crack, crushed by the weight of their respective duties, a place that in both cases it is uncomfortable and exhausting, a game of duplicity and deceit that leads dangerous consequences and suffered loss of identity.

Touched by Martin Scorsese is imposed on the plot of the original Hong Kong "Infernal Affairs". Here is the story of two parties ordinary Americans from below, from the sidewalk, and joints, like it or not, clean or stained in consciousness, in the presence of justice. The complex relationship between the world of legality and illegality here is fundamental and fatal, as in any other Scorsese film. We have two men from the ideals and morals are completely different but parallel paths of life, defying the laws of geometry, do not go on without ever touching, but contaminating each other, touching and sometimes dangerous intersection. This duality is based around the construction of the film, in a crescendo of tension and anxiety.

Costigan and Sullivan (note certain similarities and the same number of consonants of the names and last names) have the same tutor and teacher - a bad teacher, or Costello. If Billy the thing is forced and unwanted, but Colin is the only way to live, even if in the end learns to walk on his legs, making her the great fundamental rule to survive in any environment ruthless as that of the world crime and its selective hierarchy: never trust anyone.

While Billy, however, learns the hard way and through suffering and trauma of an unhappy childhood which are the true values \u200b\u200bof life, through the tear that comes from belonging to a family involved with crime (especially the father ). The character played by Leonardo DiCaprio in a confrontation with all of this, imposing a morality opposed to the distorted values \u200b\u200bthat have marked the growth - deep sense of justice, loyalty and determination. Colin, in its strong opposition, navigating in the meanness and treachery and has a somewhat vague sense of how certain values \u200b\u200bshould be integrated into the life of cold calculator, mean, vile and suffers from impotence sex, outlining a portrait of a loser but has the knife on the side of the neck ... a merciless portrait but fitting for the role he occupies. The paradox is precisely the respective positions of the two, reverse, pace of the merits and value, emphasizing how unfair this world and sometimes the rules that govern our society.

certainly one of the most successful film of Scorsese, punctuated by a rhythm very well groomed and dressed by his heavy touch (the guns blow up their heads in the finals are a classic Scorsese film now , and the public has got used to it). There are all advantages and disadvantages of belonging the crime to justice, with the little everyday problems of the criminal and the policeman, a touch that reveals a deep analysis on the man behind the categories, which ultimately is always a man. There is street life, which occurred mainly at the beginning here, with the formation of Sullivan condensed film in a few moments and then remained implied throughout the rest of the film - especially crossing the signs of the dramatic childhood Costigan.

Excellent performances by the actors are worthy choices on the side of the casting. Leonardo DiCaprio once again proves to be a good actor, that he had shaken forever the weight awkward adolescent icon, providing an effective test. Matt Damon is unbearable enough, exploiting its ability to be at the same time with a touch of good guy and (if necessary) an ability to irritate, with those same traits, in an unexpected way.

Jack Nicholson Jack Nicholson is always. his face would be enough in a couple of shots and in the same way a couple of his lines and find yourself to make the film worth watching to the bitter end. His presence, the common thread that binds the two key protagonists the two opposing worlds, is an anchor without which the whole structure of the film would collapse irretrievably. That is why the choice of actor for this role is due to fall on someone of the caliber of Nicholson.

Honorable Mention to Martin Sheen, an actor who has recovered the dignity due to him in recent years through the careful selection of important but secondary roles like this - but also Mark Wahlberg. The latter plays the right hand Sheen at the top of the police department, a man exasperated by their work but that reacts release tension and violence in the next schiacciando chiunque stia immediatamente al di sotto della propria posizione gerarchica – condendo tutto con le tipiche, pesanti, espressioni triviali e dal linguaggio da camionista (con tutto il rispetto per la categoria) che sono anch’essi un marchio di fabbrica di molti personaggi scorsesiani. Attenzione a questo personaggio, perché, ad una superficiale prima osservazione su di esso da parte di uno spettatore non avvezzo al cinema di un certo livello, apparirà il classico rompiscatole propenso al mobbing più del dovuto – mentre bisogna dire che è molto meglio averlo dalla parte della giustizia che il contrario.

Concludendo, un ottimo film, even seasoned by a good fitting to bring the goal of Martin Scorsese when he started filming, and where there is more congenial, or at the level of the sidewalk, the street, where the stories are more raw, more real and more intense - a reality that is sometimes difficult to circumvent, who always wants to be told.

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The Departed