We Own the Night

We Own the Night by James Gray (2007)

A new installment in this series dedicated to films about criminal enterprises, and We Own the Night is certainly one of the most fitting films.

Bobby runs a nightclub frequented by the Russian mafia and has long cut ties with his father and brother, both of whom work as police officers.

Reluctantly, he finds himself involved in an investigation that will shatter all his certainties and force him to make a definitive decision about his future.

“I have to go, Dad.” “Bobby, I want to tell you something: sooner or later, you’ll either be with us or with the drug dealers. It’s become like a war—do you understand that? Yes or no?” “See you later.” “Be careful.” (Bobby & Burt Grusinsky)

A Father, Two Sons

Bobby is the lost son. The black sheep, the one living a dissolute life, who has even renounced his father’s last name, though only for business reasons.

He moves through his nightclub like a king, surrounded by drugs and prostitution, Russian crime bosses, and rivers of alcohol. He doesn’t lack money, and by his side is a breathtakingly beautiful woman.

Joseph is his opposite. Perfect, honest, by the book. He followed in his father’s footsteps and made a career in the police.

He despises his brother and his choices and never misses a chance to show it, even going so far as to raid Bobby’s nightclub unannounced. Yet, deep down, he sometimes wonders what it must be like to live without following any rules.

Then there’s Burt, a loving father to both sons, desperately trying to act as a bridge between them.

He doesn’t judge but observes and tries to understand the differing positions, seeking a family balance that seems impossible. Will the bond of blood that ties them together somehow bring them back together?

Gray delivers an incredibly beautiful film, unjustly overlooked by some critics. Tough, tense, and highly dramatic, with some memorable scenes (especially the car chase in the pouring rain).

It’s spectacular and adrenaline-fueled when needed, but also intimate, desperate, and profound. A film inspired in tone, color, and staging by the cinema of directors like Scorsese or Mann, an opus that feels straight out of the ’70s.

And, most importantly, it absolutely holds its own in comparison. Truly a small, great gem.

The actors add the finishing touch with remarkable performances.

Everyone is perfectly in their roles, starting with the rebellious son Joaquin Phoenix and his brother, played by a surprising Mark Wahlberg, engaged in the fight against crime alongside their father, Robert Duvall, who, as often is the case, is simply perfect.

But let’s not forget Eva Mendes, sweet and sensual, yet capable of showing determination and grit when needed.

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