Wearing a mask all the time must surely come with moments of trepidation. For fear of losing connection with reality, we covet the things that make us fit into society. We often lose ourselves in the spiral of material objects and feelings of desire in pursuit of finding who we are and where we belong. But for the ones donning veils, the burden of not being able to convey their true feelings can often result in catastrophic consequences; ones that are too heavy to carry alone.
The story spotlights mob leader Frank Costello (Jack Nicholson), but is primarily concerned with two individuals - optimistic police cadet Billy Costigan (Leonardo DiCaprio) and the ostensibly exceptional Colin Sullivan (Matt Damon). With ties to the Irish mob in South Boston, both men must find a way to work within the law to reveal the others true identity without leaking their own.
Scorsese's focus on the main plot never waivers but the pacing is what keeps everything tight here. All credit is due to editor Thelma Schoonmaker for some stellar transitions. A perfect example of how subtle the cuts work is after the first act. This is where our two leads' stories start to merge. There's a scene where Costigan watches Costello on the phone, who in turn is talking Sullivan. Costigan can't see Sullivan but where they are at this point in the story is pivotal to the conversation. Through some seemingly regular cuts, we're shown their worlds are juxtaposed, but ever so close in proximity.
But the pieces don't just comfortably fit together in the editing; the music is cleverly chosen too. The best use is with the operatic piece 'Chi Mi Frena In Tal Momento?' - used to signify the strain Sullivan feels from his relationship with Costello. There's a moment when the tune is abruptly cut by the opening of a cell phone and it accurately signifies that Sullivan is putting a plan into action - to free him from the shackles that are weighing him down.
When we study the character's motives it's clear that Costigan desperately wants attention from the real world and Sullivan is afraid of it. It's their responsibilities in their respective roles that pull at the delicate fibres of the curtain between them. Their dysfunctional families have left them to fend for themselves and this leaves them constantly living on the edge, scared of the life that lay waiting on the other side - fearful every step they take in any direction is one they can't return from.
The story spotlights mob leader Frank Costello (Jack Nicholson), but is primarily concerned with two individuals - optimistic police cadet Billy Costigan (Leonardo DiCaprio) and the ostensibly exceptional Colin Sullivan (Matt Damon). With ties to the Irish mob in South Boston, both men must find a way to work within the law to reveal the others true identity without leaking their own.
Scorsese's focus on the main plot never waivers but the pacing is what keeps everything tight here. All credit is due to editor Thelma Schoonmaker for some stellar transitions. A perfect example of how subtle the cuts work is after the first act. This is where our two leads' stories start to merge. There's a scene where Costigan watches Costello on the phone, who in turn is talking Sullivan. Costigan can't see Sullivan but where they are at this point in the story is pivotal to the conversation. Through some seemingly regular cuts, we're shown their worlds are juxtaposed, but ever so close in proximity.
But the pieces don't just comfortably fit together in the editing; the music is cleverly chosen too. The best use is with the operatic piece 'Chi Mi Frena In Tal Momento?' - used to signify the strain Sullivan feels from his relationship with Costello. There's a moment when the tune is abruptly cut by the opening of a cell phone and it accurately signifies that Sullivan is putting a plan into action - to free him from the shackles that are weighing him down.
When we study the character's motives it's clear that Costigan desperately wants attention from the real world and Sullivan is afraid of it. It's their responsibilities in their respective roles that pull at the delicate fibres of the curtain between them. Their dysfunctional families have left them to fend for themselves and this leaves them constantly living on the edge, scared of the life that lay waiting on the other side - fearful every step they take in any direction is one they can't return from.
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