Issue date: 10/9/06 Section: Aggielife

Within the filmmaking world, East Coast Irish descendants are notoriously categorized by several characteristics: their strong Catholic faith, a love for both a good fight and a bottle of liquor and Martin Scorsese. Scorsese, a past Oscar nominee, first illustrated to audiences the underbelly of Irish New York in his 2002 film, "Gangs of New York." In his new film, "The Departed," Scorsese takes on the concept of corrupt, violence-obsessed Irishmen in present day Boston.

A film with as many intersecting stories as big-name actors, "The Departed" flows gracefully. Beginning with a monologue from Jack Nicholson, a taste of malevolence is thrown into the film in a manner that only Nicholson's twisted grin can deliver. With a character resembling an Irish, and seemingly more psychotic, version of his infamous role as The Joker, Nicholson stars as Frank Costello, a godfather of sorts running the Boston Irish mafia. As his group becomes infiltrated by a state trooper rat, Billy Costigan (Leonardo DiCaprio), times become increasingly dangerous for Costello. As the film moves in several rapidly-paced directions, each of the other characters' alliances become increasingly blurred and the film builds into a funhouse of murderous nightmares.

No aspect of the film intrudes upon another; each molds together to create an exceptional experience. Michael Ballhaus, who also filmed Scorsese's "Gangs of New York," combines both old and new cinematographic techniques. In contrast to the desaturated color Ballhaus used in "Gangs of New York" to signify the disparate poverty wrought upon the city, Ballhaus uses exceedingly saturated color in "The Departed." This brings out the gaudy wealth of Costello's Boston flat and exemplifies the tension and anger symbolized in the eventual pouring of each character's blood into the Bostonian streets.

While the film is both violent and profane, Scorsese has created a well-constructed, brilliantly artistic film.

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