The Departed
Original Score


New Line Records 12/05/2006 CD (794043907821)
Silva Screen Records 11/20/2006 Download
Silva Screen Records 11/27/2006 CD (0738572122522)
Movie Film release: 2006
 

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# Track   Duration
1.Cops or Criminals2:01
2.344 Wash2:03
3.Beacon Hill2:36
4.The Faithful Departed3:01
5.Colin2:09
6.Madolyn2:14
7.Billy's Theme6:58
8.Command3:15
9.Chinatown3:16
10.Boston Common2:53
11.Miss Thing1:45
12.The Baby2:48
13.The Last Rites3:05
14.The Departed Tango3:38
 41:42
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The Departed - 08/10 - Review of Tom Daish, submitted at
Much like Woody Allen these days, every new Martin Scorsese flick is hailed as a 'return to form' although The Departed seems to have actually lived up to the hype. That it stars Jack Nicholson, Matt Damon and Leonard DiCaprio is certainly a good start and going back to the world of gangsters and criminals that Scorsese so successfully depicted in classics such as Goodfellas and Casino is another mark its favour. Scorsese has always been adept at mixing existing songs and original music in his movies, going right back to Bernard Herrmann on Taxi Driver through Elmer Bernstein's reworking of Herrmann's original Cape Fear to Bernstein's own The Age of Innocence, one of the composer's finest. After a few collaborations with Bernstein (ending with his music for Gangs of New York being rejected) and the composer's subsequent death, Scorsese seems to have formed a strong working relationship with Howard Shore that continues here.

Since Lord of the Rings, fans are still hoping for another epic from Shore (try Soul of the Ultimate Nation), but he has largely stuck to smaller scores for more adult dramas, notably Scorsese's The Aviator. The Departed is an interesting change of direction with Shore largely eschewing the orchestra and focusing on the guitar playing talents of Sharon Isbin, G.E. Smith, Larry Saltzman and Marc Robert whose performances are at the heart of the score. Surprisingly, for a dark and gritty drama, it has a surprisingly memorable tango theme, introduced in the opening cue and reprised throughout the score, notably the lively finale arrangement. While most of the guitar material is acoustic, there are some electric guitar passages, notably 344 Walsh, which enhances the urban noir feel. However, it's worth noting that Shore actively avoids any of the music becoming too grungy; not that it's cheerful as such, but remains consistently melodic.

After the main theme, Billy's Theme is an important secondary melody. Not quite as memorable, but absolutely lovely and its extended treatment serving as a perfect central point in the album. Moments of harshness are few, but Chinatown is an exception, with eerie strings and astringent synths that almost put to mind Ennio Morricone's suspense music. Rather than another Shore score, it's Jerry Goldsmith's classic Under Fire that is perhaps the score's closest relative. If the Goldsmith score has greater dramatic punch and is rather more exhilarating than The Departed, that's not to detract from Shore's work. Its only real weakness is that, if not exactly repetitive, there isn't a great variety in tone or content, but such is often the case with long, sparsely scored films. However, Shore continues to expand his range with another fine album.
Trailer:





Trailer:





Other releases of The Departed (2006):

Departed, The (2006)
Departed, The (2006)
Film Fest Gent and Brussels Philarmonic present Scoring for Scorsese (2013)
Departed, The (2016)
Departed, The (2019)


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