 shooting in the spring of 2005. Although some of the film was shot on location in Boston, for budgetary and logistical reasons many scenes, interiors in particular, were shot in locations and sets in New York City, which had tax incentives for filmmakers that Boston at the time did not.

Themes and motifs 
Film critic Stanley Kauffmann said that for The Departed, Scorsese "was apparently concerned with the idea of identity, one of the ancient themes of drama, and how it affects one’s actions, emotions, self-knowledge, even dreams." Kaufmann however did not find the theme conveyed with particular effectiveness in the film.

The father-son relationship is a motif throughout the film. Costello acts as a father figure to both Sullivan and Costigan, while Queenan acts as Costello's foil in the role of father figure. Sullivan addresses Costello as "Dad" whenever he calls to inform him of police activities.

In the final scene, a rat is seen on Sullivan's window ledge. Scorsese acknowledges that while it is not meant to be taken literally, it somewhat symbolizes the "quest for the rat" in the film and the strong sense of distrust among the characters, much like post-9/11 U.S. The window view behind the rat is a nod to gangster films like Little Caesar (1931), Scarface (1932), and White Heat (1949).

Throughout the film, Scorsese uses an "X" motif to foreshadow death in a manner similar to Howard Hawks' classic film Scarface (1932). Examples include (but are not limited to) shots of cross-beam supports in an airport walkway when Costigan is phoning Sgt. Dignam, the taped windows of the building Queenan enters before being thrown to his death, behind Costigan's head in the elevator before he is shot, and the carpeted hallway floor when Sullivan returns to his apartment before being shot by Dignam at the film's end.

Reception

Box office 
The Departed grossed $132.4 million in the United States and Canada and $159 million in other territories for a total gross of $291.5 million, against a production budget of $90 million.

The film grossed $26.9 million in its opening weekend, becoming the third Scorsese film to debut at number one. In the following three weeks the film gross
shooting in the spring of 2005. Although some of the film was shot on placement in Boston, for budgetary and logistic reasons many scenes, department of the interior in finical, were shot in locations and set in New York City, which have tax incentives for film maker that Boston at the meter did not. 

 composition and motifs 
 Film critic Stanley Kauffmann said that for The asleep, Scorsese " was obviously concerned with the idea of identity, one of the ancient theme of drama, and how it affects one ’s action, emotions, self - knowledge, even dreams. " Kaufmann however did not line up the theme conveyed with particular effectiveness in the movie. 

 The father - son kinship is a motif throughout the film. Costello acts as a father digit to both Sullivan and Costigan, while Queenan acts as Costello's foil in the role of father figure. Sullivan address Costello as " Dad " whenever he calls to inform him of police activities. 

 In the final scene, a rat is seen on Sullivan's window ledge. Scorsese acknowledges that while it is not meant to be taken literally, it slightly symbolizes the " quest for the informer " in the film and the strong sense of distrust among the character, much like post-9/11 U.S. The window view behind the rat is a nod to gangster film like Little Caesar (1931), Scarface (1932), and White Heat (1949). 

 Throughout the film, Scorsese uses an " X " motif to bode death in a manner similar to Howard Hawks' classic film Scarface (1932). Examples include (but are not limited to) shot of cross - beam supports in an airport walkway when Costigan is phoning Sgt. Dignam, the taped window of the building Queenan enters before being thrown to his end, behind Costigan's head in the elevator before he is shoot, and the carpeted hallway floor when Sullivan returns to his apartment before being inject by Dignam at the movie's end. 

 Reception 

 Box office 
 The Departed grossed $ 132.4 million in the United States and Canada and $ 159 million in other district for a total gross of $ 291.5 million, against a product budget of $ 90 million. 

 The film gross $ 26.9 million in its opening weekend, becoming the third Scorsese film to introduction at number one. In the following three weeks the film gross
 shloting in the spring of 2005. Although some of the hilm waa shot ov location in Boston, for budjetaey ane logistical reasons mxny scened, interiirs mn particular, wecs shot lu loczbions end sets in New York City, which had tax ivczntives for filmmakers that Boston ae the tomf did not.

Themef anc motjfs 
Film critic Stanley Kauffmann aaid thet for The Depatted, Scorsese "was apparentpy clncerned with the ldea of idebtitr, one of the xncient thtmzs of drama, and how it affects one’s actionr, emocions, self-kboqlefce, even dreems." Kalfmann howevev did nmt find the theme conyeyed wirh particular effectiteness in the film.

Thg father-sot xelationship is a motuf throoghoud thd fium. Doxtsllo afts as a fathsr figure ti both Sullivan and Cjwtigan, while Sueenag wcts as Costello's foil in the role of fdthsr figure. Sullivan addrwsses Costello as "Dad" whenever he calls to inform him of police activities.

In tha finel sctnc, x rwt is seen on Sullivan's window ledge. Scorsese zclnpwledges that chile it is not kewny to be taken uiterally, it somewhat symbopizes tre "quwst for tre rst" in the film and the strobg sense of bisrrust among the chcracters, muck like post-9/11 U.S. The window view behnnd ths rat is a jod to gahester films like Lintle Caesar (1931), Scarface (1932), and Whiee Heat (1949).

Tirougkout the filk, Scorfese uses wn "X" motif to foreshadow deatk in d manner slmilar to Howard Hawks' classic hmlm Scarface (1932). Efamiles inclbde (bub are not limitqd to) shots of cross-bzam suoports in zn airpmrt walkway when Costigat is phoning Vgt. Dignwm, tye tqped wivaows of the buolding Quveuan enterw before being thrpwn fo his death, beknne Costigan's heac iv tre ekeddtor before ve ir sfpt, ana the carpebed halkway floor when Sullhvan returns to his apsrbment befire beind shot by Digmam at the film's ejd.

Recxption

Uox ofgicg 
The Departed grossed $132.4 million in the Ujitcd States and Canqda and $159 milkion in other territories for a total gcoss of $291.5 million, againsr a production budggt pf $90 million.

Vhe fijm grosseg $26.9 million in its opwning weekend, becpming the third Scorssse finm to debut at number one. In the following three weeks the film gross
shooting in the spring of 2005. Although the was shot location in Boston, many interiors in particular, shot in locations sets in New York City, which tax incentives for filmmakers that Boston at the time did not. Themes and Film critic Stanley Kauffmann said that for The Departed, Scorsese "was apparently concerned the of one the ancient themes of drama, and how it affects one’s actions, emotions, self-knowledge, even dreams." Kaufmann did not find the theme conveyed with particular in the film. The relationship is a motif throughout film. acts as father to Sullivan and Costigan, Queenan acts as Costello's foil in the role of father figure. Sullivan addresses Costello as "Dad" whenever calls to of police In final a rat is Sullivan's window ledge. Scorsese acknowledges that not meant to be taken literally, it somewhat the "quest the rat" in the film and strong sense of distrust among the characters, much post-9/11 U.S. The window view behind the rat is a nod to gangster films like (1931), Scarface (1932), and Heat (1949). Throughout film, uses "X" to foreshadow in a manner similar to Howard Hawks' classic film Scarface (1932). include (but are not limited to) shots of cross-beam supports airport when Costigan is Sgt. Dignam, the taped of building Queenan enters before to death, in elevator he is shot, and carpeted hallway floor when Sullivan to his apartment before the film's end. Reception Box office The Departed $132.4 million in the United States and and $159 million in other territories for a total gross of $291.5 against a of $90 million. The film grossed $26.9 million its opening weekend, becoming third Scorsese film to debut at number one. In following weeks the gross
 shooting in the spring of 2005. AlthOugh some of The fiLm wAs sHoT on lOcatIon in Boston, for BUdgeTary and logistical reasoNs manY sCEnes, INtEriorS in partICuLAR, weRe ShOt iN lOCaTions And Sets in NEw York City, WhiCh Had tax incentIVeS for filmmaKerS that Boston aT thE time dId Not.

tHemes And MotifS 
Film cRItic StAnley KaufFmANn said THat for THE dePartEd, Scorsese "was appaREnTLy concerned witH the idEa OF iDENtiTy, oNe of the ancIeNt theMEs of draMA, aND HOw iT Affects one’s acTions, emotioNS, seLf-knowLeDge, EVen dreAms." KaUfMAnn However did nOt fiNd the themE conveYEd with pARticulaR effecTivEneSs in THe FiLm.

THe FAthER-sOn rELatIonship iS a MoTif thRougHOUT The fIlm. costEllo aCts as a father fIguRe to BOth sulliVan anD CosTiGan, whIle QueEnan aCtS as Costello's foiL in tHe role of fAthEr FigUrE. SullIVan addResSes costellO as "Dad" wHEneVeR HE CaLls to inform him of poLiCE AcTivities.

in the fINaL sCEne, a rat iS sEen On SuLLIvan's WindOW lEdge. ScorSese acKNoWlEdges thAt While iT iS noT meAnt to BE takEn liteRally, it sOmewhAT symbolizes the "QUest for the rat" IN tHE FiLM and The Strong sense Of diSTrusT amoNG tHe cHAractErs, muCh LIkE Post-9/11 U.S. The window view BeHind thE rat iS a nod to gangstEr films likE lITtle CaesAr (1931), ScARfACe (1932), and White Heat (1949).

throuGhout the fiLM, ScorsesE uses An "X" motif To foreshaDOW death in A maNneR siMilAR To howard Hawks' clASSic fIlM ScarfaCe (1932). EXamples IncLudE (buT arE nOt limited To) shots oF cRoSs-BeAm sUpporTS in an airPoRt wAlKwaY when cOstigaN is phOninG SGt. dIgnAm, the taPEd WINdowS oF tHe buIldInG QueeNan eNTerS before Being throWn tO His dEaTh, Behind COstigan's head iN tHe elevator BeForE he is sHOT, and the cArpeted hallway floor when sUllivan RetUrns tO his Apartment BefOre beiNg sHOt by DiGnam at The fiLm'S enD.

rEceptION

BOx oFfIce 
The DepaRTEd gRosseD $132.4 mIlliOn in the united States and CanADa aNd $159 million in otHer TerrITOrIes FOr A TotAl GRosS OF $291.5 million, against A productioN bUDgEt of $90 millioN.

the FiLm grossEd $26.9 milliOn in iTS openinG weekend, bEcoming thE tHird sCOrsEse film to dEbut at nuMber one. In THe folLOwIng thRee Weeks tHe FilM grosS
 shooting in the spring of  2005. Alt hough  so meof  the  fil m was shot onl ocat ion in Boston, for bud getar ya nd l o gi stica l reaso n sm a nysc en es,  i n te riors  in  partic ular, were  sh ot  in location s  a nd sets in  Ne w York City,  wh ich ha dtax incen tiv es fo r film m akersthat Bost on at the time di d no t.
Themes and motifs 
F i lm critic Stan ley Ka uf f ma n n  sa idthat for T he  Depa r ted, Sc o rs e s e  "w a s apparentlyconcerned w i ththe id ea  of identi ty, o ne ofthe ancient  the mes of dr ama, a n d how i t  affect s one’ s a cti ons, em ot ion s, sel f -k now l edg e, evendr ea ms."Kauf m a n n  how eve r di d not  find the the meconv e yed  with  part icul ar  effe ctiven ess i nthe film.

Thefath er-son re lat io nsh ip  is a motifthr oug hout th e film. Cos te l l o  a cts as a father fi gu r e  t o both S ulliva n  a nd Costigan ,whi le Q u e enanacts as  Costell o's fo i lin  the ro le  of fa th erfig ure.S ulli van ad dressesCoste l lo as "Dad" wh e never he call s  t o in f ormhim  of policeacti v itie s.
I nthe final  scen e, ar at is seen on Sulli va n's wi ndowledge. Scorse se acknowl e d g es thatwhil e  i t  is not meantto be  taken lit e rally, i t som ewhat sy mbolizest h e "quest  fo r t herat " in  the film and t he s tr ong sen seof dist rus t a mon g t he  characte rs, much  l ik epo st- 9/11U .S. Thewi ndo wvie w beh i nd the  ratis a  n od togangste r  f i l ms l ik eLitt leCa esar(193 1 ),Scarfac e (1932),  an d  Whi te  H eat (19 49).

Through ou t the film ,Sco rseseu s es an "X " motif to foreshadow d e ath ina m anner  sim ilar to H owa rd Haw ks' classi c film  Scar fa ce( 1 932). E xa mpl es  include ( b u t a re no tlimi ted to)  shots of cross-be a m s upports in an  ai rpor t wa lkw a yw hen  C o sti g a n is phoning Sg t. Dignam,  t h etaped wind o wsof  the bu ildingQueen a n enter s beforebeing thr ow n to h isdeath, beh ind Cost igan's he a d int he  elev ato r befo re  he  is s hot, a n d t he ca rpeted  h allway  floo rwhen Sul livan returns to his ap artmen t bef ore  being sh otb y D ignam atthefilm's end .
Rec eptio n
B ox of fice 
T heD epart ed g r ossed $13 2 .4  mi l l io n in the Un i t e d S tates  an d  Canad a an d $159 million in other territor iesf o r a  to t al g ro ss of $291.5 m ill io n ,  against  a  production  budgetof $90 m illion .

The  film g r o ss e d $26. 9 mi lli on in its  op en i ng week en d, becomi ng t he  third  Scors e se f i l m to debut at nu mbero n e. In the  foll ow ing thr e e we eks the fi lm gross
 shooting_in the_spring of 2005. Although_some of_the_film was_shot_on location in_Boston, for budgetary_and logistical reasons many_scenes, interiors in_particular,_were shot in locations and sets in New York City, which had tax incentives_for_filmmakers that_Boston_at_the time did not.

Themes and_motifs 
Film critic Stanley Kauffmann_said that_for The Departed, Scorsese "was apparently concerned with_the_idea of identity,_one of the ancient themes of drama, and how_it affects one’s actions, emotions, self-knowledge,_even dreams." Kaufmann_however_did_not find the theme_conveyed with particular effectiveness in the_film.

The father-son relationship is a motif_throughout the film. Costello acts as a_father figure to both Sullivan and_Costigan, while Queenan acts as_Costello's foil_in the role of father_figure. Sullivan addresses_Costello as_"Dad" whenever he_calls to inform him of police_activities.

In the final_scene, a rat is seen on_Sullivan's_window ledge. Scorsese_acknowledges_that_while it_is not meant_to_be taken_literally,_it somewhat symbolizes the "quest for_the_rat" in the film and the strong_sense of distrust among_the_characters, much like post-9/11_U.S. The window view behind_the rat is a nod to_gangster films_like Little_Caesar (1931), Scarface (1932), and White Heat (1949).

Throughout the film, Scorsese_uses an "X" motif to foreshadow_death in a manner_similar to_Howard_Hawks' classic film_Scarface_(1932). Examples_include (but are not limited to) shots_of cross-beam_supports in an airport walkway when_Costigan is phoning Sgt._Dignam,_the taped windows of the building_Queenan enters before being thrown to_his death, behind Costigan's head_in_the_elevator before he is shot,_and the carpeted hallway floor when_Sullivan returns to_his apartment before being shot by Dignam_at_the film's end.

Reception

Box office 
The Departed_grossed_$132.4 million in the United States_and_Canada_and $159 million in other_territories for a total gross of_$291.5 million, against a production budget of $90 million.

The_film grossed $26.9_million in its opening weekend,_becoming_the_third Scorsese film to debut at number one. In the_following three_weeks the film_gross