The Deaprted (2006) is one of the most commercial and acclaimed films of Martin Scorsese's career. Dealing with both police and gangs, this is a type of film that Scorsese has a lot of experience making. The film departs from most typical crime dramas with its intense depiction of gang violence and the lives of two moles, or rats. The main moles are Colin Sullivan (Matt Damon) who manages to infiltrate the Boston police and Billy Costigan (Leonardo DiCaprio) who, with the help of his family connections, managed to infiltrate Costello's inner circle. Over the course of the film, the audience realizes the secret identities of other characters and discovers that there are more moles than initially announced. This directly corresponds to the central theme of the story, which is an examination of collective and dual identities. Whether it's gender, racial, or organizational identity, this character-driven film focuses on how people assign these identities to themselves and attempt to suppress those that harm their safety and security. to their respect. Roger Ebert wrote in his review of the film The Departed: "'The Departed' tells the story of two men trying to lead public lives that are radically opposed to their inner realities" (Ebert, Roger). While this is true, the film transcends the story of two men and instead depicts the state of the world and the identities imposed on people, whether they adopt them or attempt to reject them is irrelevant to the fact that 'they exist because of a societal feeling. The Departed briefly describes the unfairly shaped collective identity of African Americans in Boston and other parts of America. Frank Costello's (Jack Nicholson) monologue to open the film is aptly about an all-encompassing, middle-of-the-paper place. To which Sullivan replies that he has a co-signer, the real estate agent implies that he must have a "guest", a euphemism for a homosexual partner. Other supporting evidence aside, the importance of masculine identity for men should not be underestimated. By being engaged to Madolyn, he is protecting his identity and reputation. As Captain Ellerby (Alec Baldwin) tells Sullivan he is a married man. It “lets people know you’re not gay; the married man seems more stable; people see the ring, they think at least someone can handle this son of a bitch; ladies see the ring, they immediately know you must have money or your dick must work. Sullivan goes so far as to marry a woman to protect his identity as a functioning, heterosexual man, which is essential in the testosterone-filled world of Boston police and gangs..