An undercover state cop who has infiltrated an Irish gang and a mole in the police force working for the same mob race to track down and identify each other before being exposed to the enemy, after both sides realize their outfit has a rat.
In South Boston, the state police force is waging war on Irish American organized crime. Young undercover cop Billy Costigan is assigned to infiltrate the mob syndicate run by gangland chief Frank Costello. While Billy quickly gains Costello's confidence, Colin Sullivan, a hardened young criminal who has infiltrated the state police as an informer for the syndicate is rising to a position of power in the Special Investigation Unit. Each man becomes deeply consumed by his double life, gathering information about the plans and counter-plans of the operations he has penetrated. But when it becomes clear to both the mob and the police that there's a mole in their midst, Billy and Colin are suddenly in danger of being caught and exposed to the enemy-and each must race to uncover the identity of the other man in time to save himself. But is either willing to turn on the friends and comrades they've made during their long stints undercover? Written by
In the dinner scene with Madolyn, Colin states that "what Freud said about the Irish is we're the only people impervious to psychoanalysis." Despite what you may find on a Google search or the Boston Globe, Sigmund Freud didn't actually ever say that. In a clever act of investigative journalism, a man named Dr. Charles wrote to the director of research at the Freud Museum in London, and asked him about the legitimacy of the quote's attribution. His response (which is also stated on the FAQ section of the museum's Website): "There is no evidence Freud said [the quote]. The only documentation seems to be Anthony Burgess, in his introduction to a book of Irish short stories: 'One of [Freud's] followers split up human psychology into two categories - Irish and non-Irish.'" See more »
When Costigan and Costello meet at the bar for the very first time, Costigan's cast is bright white, and the top edge is very smooth and straight. Next after Costello calls him to the back room (I ain't the cops, and I ain't askin'), the cast is clearly different, a much duller shade of white, and the top edge of the cast is very frayed. See more »
I don't want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying - we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn't get a fucking job, we had the presidency. May he rest in peace. That's what the niggers don't realize. If I got one thing against the black chappies, it's this - no one ...
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The title doesn't appear on screen until nearly 20 minutes into the movie. See more »
Now I know that 'The Departed' is based off of the Hong Kong movie 'WuJianDao', but Scorsese really grabs hold of a great story and brings it to the American Screen. My father grew up in Boston and when we walked out of the theater he couldn't stop talking about how authentic the environment and attitude was. Then there's the acting in which the lead actors (Nicholson, DiCaprio, Damon) not only give stunningly entertaining performances, but you become engulfed in each one's perspective and dilemmas. The smaller roles that of (Baldwin, Walberg, Sheen) are supporting roles that remind me of Jesus Quintana from 'The Big Lebowski', by this I mean that their screen time is limited but they make lasting impressions that you cherish each and every scene they are in, Alec Baldwin especially. The story itself starts off with the basic intro of the players and the setting, but you'll find yourself slowing following each and every plot twist and rooting back and forth for the good guys and for the bad guys. If you're a Scorsese fan, which I am, I think you will appreciate this film. You can clearly see the Scorsese touch ranging from the cinematography and of course the music, it's great to hear "Gimme Shelter" again, but "Comfortably Numb" played in so well. It's another gangster flick from Scorsese, yet this one stands alone because feels so fresh and most would agree Scorsese does gangster films the best; so why not let him. Oscar worthy, the acting I certainly hope; this is DiCaprio's best role since 'The Aviator' which was his best role since 'Gangs of New York', am I seeing a pattern here. But my lasting impression wasn't concerned with the politics of the golden statue; my lasting impression was that I had sat through 2 and half hours of brilliant and especially entertaining storytelling. Thank you Mr. Scorsese.
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