Mélodrame plus que tragédie, le film est porté par de grands acteurs, au service d'une réalisation en équilibre parfait entre classicisme et recherche formelle (notamment l'époustouflante course poursuite). Dur de choisir entre ce film et The Yards, mon autre James Gray préféré.
The first act has that same epic sweep of the mundane as the wedding that opens The Deer Hunter. The rest mixes Coppola's allegorical, melodramatic treatment of family (albeit on a smaller, more nuanced scale) with William Friedkin's morally confrontational approach to violence. Gray doesn't film action scenes so much as reaction scenes, drawing mood from the response, not the build-up. Masterful.
I like the way James Gray patiently builds his imaginary world through his films. He deliberately chooses family circles as an ideal place for tragedy to appear. Here, in We Own The Night, we have two families, two brothers and two fathers. And we have Robert Grusinsky, who changed his name to Bobby Green, desperately trying to find the right place and the right circle. Masterpiece.
A film that showcases a directors total control over emotion, time and change. Too mellow? Fuck it, you just can't sit still long enough. This film is a vision realized and has one of the best casts I've seen recently in a studio flick. True cinema.