Last September, Warner Bros. screened Martin Scorsese's new thriller "The Departed" to a mostly skeptical press. Good buzz on the flick had been limited to hardcore Scorsese fans, because the previews didn't make this remake of the Hong Kong classic "Infernal Affairs" seem all that special. Although they will hardly admit it now, the glowing critical reaction came as a big surprise to the studio, the producers and even the actors involved. Warner Bros. was just hoping their big-budgeted flick would just sell some tickets. Who knew that five months later it would win the Oscar for Best Picture?

Video: Scorsese on winning Best Director

In October, the awards season kicked off as Hollywood's attention shifted to Clint Eastwood's long-anticipated "Flags of Our Fathers," which critics also adored (but moviegoers hastily ignored). By November, "The Queen" was being perceived as more than just a great Helen Mirren performance, while there was euphoric hype/praise (take your pick) for the musical "Dreamgirls." As for "Departed," those in the know slowly realized it would be a Best Picture nominee, but how could it win? It was way too violent for those conservative Academy members (um, anyone remember "Braveheart"?). Plus, there was "Babel" with its depressing, but "oh, so important" global tapestry, or that cute Sundance hit "Little Miss Sunshine." Sure, Eastwood threw everyone a curve by releasing "Flags'" superior companion, "Letters From Iwo Jima," in late December, but it was too small to matter, right? Besides, by the end of the year, Hollywood was being guilted, er, reminded, not to forget "United 93" (when its studio should have been pushing "Children of Men" instead), along with growing momentum for the dazzling "Pan's Labyrinth."

January's nomination announcement brought major surprises, such as "Iwo Jima" making the final five and "Dreamgirls" not, but the frontrunners were clearly "Sunshine" and "Babel," two pictures that genuinely seemed to move people emotionally. Did anyone talk about "The Departed" in those terms? Not really. And where was the movie's campaign? The industry couldn't escape a trade ad or special event for "Sunshine," "Babel" or "The Queen." On the other hand, those "Departed" boys were mostly sitting in the background keeping quiet -- a gutsy (but ultimately smart) strategy.

So smart that, by the end of this Sunday's Oscar telecast (one that needed some surprises), a beaming Jack Nicholson was handing the winning statue to his "Departed" producer Graham King. And there was Scorsese, who'd finally won his first Oscar statue minutes before, standing offstage with tears welling up in his eyes at their good fortune. A golden night for "just another thriller." Didn't they say the same thing about "The Silence of the Lambs" and "Unforgiven"? Amazing how history repeats itself. If only those of us in the know had been paying attention.