Why “The Departed”?
Well, it’s that plate-of-shrimp type thing.
You know what I mean — you want a straight good guy/bad guy movie, go to the theatre and watch “Olympus Has Fallen,” only to have your interest piqued in another movie because of previews discussing the career of Mark Wahlberg.
Even though Leo D and Matt D are not your favourite actors, you agree to watch a film about crime, cops, corruption and punishment in the south Boston area.
Then, as luck would have it (I can’t say that the phrase “better bad luck than no luck at all” applies to the local crime scene on the streets of Boston right now), your interest is raised higher due to the conflux of life imitating art, art imitating life, life imitating life and art imitating immigration control acts with as much likelihood of passing as gun control acts in the Senate but maybe as much as the CISPA cybersecurity bill in the House of Representatives.
While the world watches video clips of potential suspects of the Boston Massacre Part Deux, we have little in the way of interest in the U.S. of the faces on bombing perpetrators in Iraq or Afghanistan.
Such is the power of the Western mass media owners, advertisers and viewers who want to prove their peaceful way of life is best.
I won’t wax the philosophical surfboard and ride waves of meditation upon the rise and fall of company values and families based on shaky loans and house-of-cards economics.
Instead, I take off my hat and bow my head, in respect, to the recently departed.
For them, there is no future on celestial bodies.
For them, our celestial body futures are dedicated.
For them and the billions before them.
There is no imitation for life, no substitute, no art form that replaces our loved ones.
But art and imitations can teach a lesson.
Are you listening? Paying attention? Can you afford the cost?