Comparing 'Infernal Affairs' and 'The Departed': In what ways is Martin Scorsese's remake faithful to the spirit of the original, and in what aspects (such as the aesthetics of violence and the ending) does it undergo a thorough 'localization'? How does this comparison highlight the unique qualities of the original Hong Kong version?

I. Overview

• Infernal Affairs (2002, Andrew Lau/Alan Mak): A pinnacle of Hong Kong crime thrillers post-handover, using the Buddhist concept of "Avici Hell" to explore identity dislocation and karmic retribution.
• The Departed (2006, Martin Scorsese): A localized remake set in Boston's Irish mob. Scorsese retains the original dual-protagonist structure while infusing his signature themes of American urban violence and religious anxiety.

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II. Dimensions of Fidelity to the Original Spirit

Scorsese preserved the original’s skeleton and tragic essence, only adjusting "seasoning" in details.

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III. Key Localization Adaptations

1. Cultural Context

• Hong Kong’s "Triads" replaced by Boston’s Irish mob, aligning with 20th-century American gangster history.
• "Master-disciple" bonds (Anthony Wong/Tony Leung/Andy Lau) replaced with Americanized patriarchal/godfather-style hierarchy (Frank Costello and Sullivan).

2. Aestheticization of Violence

• HK: Sparse gunfire, restrained bloodshed; "suspense through editing and pacing."
• US: Scorsese’s gritty realism, explicit gore, profanity; frenetic pacing. Street brawls to graphic headshots embody "American dark humor + hardcore violence."

3. Religion and Psychological Undertones

• HK: Buddhist "Avici Hell" + karmic retribution; religion as metaphor.
• US: Prominent Catholic symbols—mass, confession, crucifixes, Virgin Mary statues—intensify "sin and redemption" themes, reflecting Italian/Irish-American religious roots.

4. Characterization and Gender Portrayal

• HK: Tony Leung’s dual romantic subplots (girlfriend + therapist); Andy Lau’s fiancée.
• US: Merged into one therapist, Madolyn, entangled with both protagonists—streamlining for Hollywood’s narrative focus and scandal tropes.

5. Ending Treatment

• HK: Lau survives, deletes evidence—moral ambiguity lingers; karmic resolution only in Infernal Affairs III.
• US: Sullivan kills Dignam in elevator → immediately shot by Costigan; rooftop "rat" visual—Scorsese’s explicit fatalism.

6. Visual/Music Style

• HK: Cool blue tones + Chan Kwong Wing’s score + Teresa Teng’s Forgotten Time; urban detachment.
• US: Rapid cuts + The Rolling Stones’ Gimme Shelter, Dropkick Murphys, Comfortably Numb—Boston’s gritty local flavor.

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IV. Unique Qualities of the Hong Kong Original

1. Eastern Philosophy of Avici Hell
   • "No escape in life, no rest in death" cyclical symbolism adds layers of fate and delayed mercy to tragedy.
2. Hong Kong Crime Cinema’s Brotherhood Codes
   • Brutal yet measured restraint; emphasizes gray morality in brotherhood, mentorship, and honor.
3. Negative Space and Chilling Ambience
   • Sudden silences, confrontational stares, muted scores—tension through restraint, contrasting Scorsese’s "overflowing" visuals.
4. Post-Colonial Urban Anxiety
   • "Undercover" metaphor mirrors Hong Kong’s post-1997 identity crisis amid geopolitical shifts.
5. Narrative Economy
   • High-density storytelling within 100+ minutes; trimmed subplots showcase Hong Kong cinema’s efficiency.

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V. Conclusion

The Departed inherits Infernal Affairs’ core tragedy of "dual infiltration," yet achieves American reinvention through intensified violence, overt religious iconography, and a character-driven city (Boston). By contrast, the Hong Kong original’s enduring power lies in:

• Using Buddhist reincarnation to dissect humanity,
• Crafting icy tension through understated underworld aesthetics,
• Reflecting identity anxiety via Hong Kong’s unique historical context.

Juxtaposing these films’ "spiritual continuity" and "aesthetic divergence" reveals how Infernal Affairs elevates a crime thriller into an urban allegory of identity, time, and karma—through restraint, negative space, and Eastern fatalism.

Martin Scorsese's The Departed, as a remake of the Hong Kong film Infernal Affairs, remains faithful to the spirit of the original while undergoing significant "localization" adaptations. This results in a distinct contrast in the overall tone and atmosphere between the two films.

I. Aspects Faithful to the Original Spirit

The Departed faithfully inherits the essence of Infernal Affairs in the following core aspects:

1. Core Narrative Structure and Character Setup: Both films revolve around a dual narrative of "police mole infiltrating the mob" and "mob mole infiltrating the police," constructing two protagonists with displaced identities and intertwined fates. Both struggle within their respective camps, facing identity crises and the constant risk of exposure.
2. Thematic Exploration:
   • Identity Crisis: Both protagonists are deeply trapped in the dilemma of "who am I?" Whether it's the mole yearning to be a good person or the traitor seeking redemption, neither can escape the shadow of their past.
   • Ambiguity of Good/Evil and Moral Dilemmas: The films avoid simplistic divisions of characters into good or bad, instead delving into the complexity of human nature and the blurring of moral boundaries under extreme circumstances.
   • Trust and Betrayal: The cat-and-mouse game between the moles and traitors, and their relationships with their superiors and comrades, are filled with suspicion, testing, and betrayal.
   • Sense of Fate and Cyclicality: Although expressed differently, both films convey a sense of the unpredictability of fate and an inescapable sense of destiny.

II. Aspects of "Localization" Adaptation

Scorsese relocated the story from Hong Kong to Boston, incorporating Irish-American mob culture, resulting in multifaceted "localization":

1. Violence Aesthetics:

   • Infernal Affairs: The Hong Kong version presents violence more subtly and restrainedly, often implied or shown with minimal detail. Gunfights and fight scenes, while tense, prioritize psychological impact and plot progression over explicit gore. Violence serves the story and character psychology, carrying the nuance of "suggestive restraint" (liubai) in Eastern aesthetics. For example, Superintendent Wong's fall focuses more on visual and emotional shock than bloody close-ups.
   • The Departed: Scorsese's film is filled with his signature American violence aesthetics. Violent scenes are more direct, graphic, realistic, and even ritualistic. Gunfights, dismemberment, and torture are depicted unflinchingly, creating a powerful visual impact. Violence is not just part of the plot but a way to express the film's style and character personalities (especially Frank Costello), embodying the gritty brutality of American gangster films.

2. Ending Treatment:

   • Infernal Affairs: The ending is more tragic and fatalistic. Chan Wing Yan's (Tony Leung Chiu-wai) sacrifice is absolute. While Lau Kin Ming (Andy Lau) appears to have successfully cleansed his record, the line "I want to be a cop" in the elevator and the final Buddha statue close-up imply he is condemned to an eternal, hellish torment without true redemption. The ending leaves room for contemplation and philosophical reflection, emphasizing karmic retribution and perpetual spiritual punishment.
   • The Departed: The ending is more direct, bloody, and "satisfying" in a visceral sense. Key characters like Billy Costigan (Leonardo DiCaprio) and Sergeant Dignam (Mark Wahlberg) are killed, and Colin Sullivan (Matt Damon) is ultimately executed by Dignam, achieving a form of "justice." This approach aligns more with the Hollywood tradition of villains receiving their due punishment, emphasizing external, physical retribution over internal spiritual torment.

3. Character Portrayal and Cultural Context:

   • Infernal Affairs: Character relationships are more implicit, and emotional expression is more restrained. Chan Wing Yan's melancholy and Lau Kin Ming's struggle carry a sense of repression and endurance characteristic of Eastern cultures. The depiction of the triads leans more towards organizational structure and strategy.
   • The Departed: Characters are more extroverted and extreme. Frank Costello's (Jack Nicholson) madness and brutality are amplified, becoming a highlight. Billy Costigan's rage and struggle are more explosive. The film incorporates the culture, accents, and gang rivalries of Boston's Irish-American community, giving the story a distinct regional flavor and ruggedness.

III. How the Contrast Highlights the Unique Essence of the Hong Kong Original

The above comparisons highlight the unique essence of the Hong Kong original, Infernal Affairs:

1. Philosophical Depth and Tragic Fate: Infernal Affairs is not just a crime thriller; it's a philosophical tragedy exploring humanity, fate, and karma. The title "Infernal Affairs" directly references the Buddhist concept of "Avici Hell" (Wujian Diyu), emphasizing the protagonists' endless suffering and inescapable destiny. This focus on internal anguish and spiritual redemption is absent in The Departed.
2. Restrained Eastern Aesthetics: The Hong Kong version is more restrained and subtle in its narrative, emotional expression, and depiction of violence. It conveys complex emotions and profound meaning through glances, expressions, suggestive restraint (liubai), and atmosphere, rather than direct visual shock. This artistic approach of "silence speaks louder than words" imbues the film with a unique poetic quality and resonance.
3. Deeper Exploration of "Good" and "Bad": In Infernal Affairs, Lau Kin Ming's desperate desire and struggle for the identity of a "good person," and his ultimate failure to attain it, result in a more profound and compassionate exploration of good and evil. It goes beyond punishing villains to showcase the complexity of humanity and the difficulty of redemption.
4. Unique Urban Alienation: Set against the backdrop of Hong Kong, an international metropolis of towering skyscrapers and neon lights, Infernal Affairs also conveys a strong sense of alienation and loneliness between people. This urban setting forms a stark contrast with the protagonists' internal struggles, creating a unique atmosphere of modern urban tragedy.

In conclusion, The Departed is a successful remake that integrates the original story's core into Scorsese's signature American crime film style, full of power and impact. However, Infernal Affairs, with its profound philosophical contemplation, restrained Eastern aesthetics, and deep portrayal of tragic fate, showcases its unique essence and irreplaceable artistic value as a classic Hong Kong film. Both films stand on their own merits, collectively enriching the treasure trove of cinematic art.