The Yards

THE YARDS                  A                 

USA  (115 mi)  1999  ‘Scope  d:  James Gray

Like an offshoot from THE GODFATHER (1972), using a tense and beautifully realized naturalism with an equally impressive cast, this searingly intense story remains Gray’s best work exposing the behind-the-scenes corruption where various well connected families vie for control and power from the lucrative contracts awarded to provide repairs of the New York City subway system.  The director’s own father worked for a company that supplied parts and needed services for the New York subway, adding an autobiographical touch of authenticity to this story written by Matt Reeves and the director.  It is this close, intimate glimpse that gives the film its power, basically the story of two best friends, a young Joaquin Phoenix as Willie, an on-the-edge character in over his head, as usual, and Mark Wahlberg as Leo, fresh out of prison on car heists, where he apparently took the fall for the rest of the gang.  Shot by Harris Savides who subsequently became Gus van Sant’s cinematographer, the film opens with a welcome home party for Leo awash in warm golden tones with glowing faces accentuated by candlelight, where the restless mood showcases what’s best about James Gray films, where the everpresent food and din of voices underscores a growing sense of underlying urgency.  As Leo greets his mother, Ellen Burstyn, his aunt, Faye Dunaway, and cousin, a stunningly gorgeous dark haired Charlize Theron as Erica, the energy carries them to a nightclub where Willie wants to show off his girlfriend Erica in a dance sequence bathed in red, which grows ecstatic to the gyrating, rhythmic music of Bellini - Samba De Janeiro - YouTube  (2:48), which matches the frenetic mood of Willie who quickly gets in a jealous fight when a guy tries dancing with his girl.  From the outset, territorial boundaries are set, like neighborhoods or families or contracts, where men are willing to do battle in order to protect these invisible lines, where the perception is this is all they’ve got.      

In order to make up for the troubles he’s caused his mother, Leo intends to go straight, but all he knows are the ways of the streets, where he immediately falls back into the same crowd that got him into trouble in the first place.  He goes to see his uncle Frank, brilliantly played by James Caan as if he was the reincarnation of Sonny Corleone given a new chance at life, the guy who now runs the railway contracts, where he explains “If it's on a train or a subway, we make it or we fix it.”  But Frank is hesitant to involve his nephew in the dirty business and tries to steer him straight, but Willie who works for Frank will have none of that, believing there’s plenty of cash to go around, so he starts involving Leo in some of the petty graft, which involves the police, train employees and the local politicians, where it appears everyone is on the take.  Since this well-oiled system is so entrenched in local business practices, who is Leo to suggest it’s wrong?  This is perfectly underscored at a family dinner, where Frank is surprised Leo’s working with Willie, who is basically his bag man, the guy who pays off all the bribes and keeps everyone happy, but he accepts the situation when the women at the table start wondering what’s wrong with Leo working with Willie, since they’re such good friends?  Rather than a typical crime drama where the bad guys are clearly identified by their gun toting violence, this gets underneath the workings of a civilized society where everything is operating under the natural order of business, and when it’s family, everyone looks out for everyone else’s interests.  The character of Frank is actually inspired by Gray’s own father who was involved in a train racketeering scandal from the 80’s.   

This is an exceptional crime film that underplays and nearly eliminates macho dialogue but does place most of the interior scenes in dimly lit rooms that are nearly engulfed in shadows, where Phoenix especially wears the darkness around him like a garment, where his haunting close ups have an especially eerie feel to them.  Howard Shore chooses very sparingly to use grave, ultra dramatic music, adapting the dark and gloomy mood of Saturn from Gustav Holst’s The Planets. Based on the title, it’s inevitable that the most significant scene in the film takes place in the railroad yards, where Willie and a small group routinely damage railroad cars, which steers repair business to Frank, so he brings along Leo, thinking what harm can come of it?  But all hell breaks loose when a yardmaster refuses to play along, which sends everything spiraling out of control.  Leo gets fingered for something he didn’t do and he’s forced to go into hiding, once more taking the rap.  But on parole, he’s not afforded a second chance, so he either has to come clean or disappear.  The brain trust of the family operation works overtime on this one, as rather than someone they can simply get rid of, this is one of their own.  The moral lines are drawn, but everyone is in a quandary.  There’s a calm intelligence and seductive beauty to the way this movie is filmed, right down to the plentiful family meals, the accuracy of the speech inflections, the backroom negotiations playing out at supposedly public meetings, and the use of seedy locations, where Wahlberg’s role is reminiscent of Brando in ON THE WATERFRONT (1954), but he plays it with more quiet reserve, continually expanding his emotional range.  Erica has a spectacularly moving sequence with her stepfather Frank which could literally be an outtake from THE GODFATHER, while sisters Burstyn and Dunaway provide family cohesion with trust and believability.  The performances throughout are simply masterful and cannot be underestimated, as this has the despairing air and undignified feel of people being trapped by the system.

A NOTE OF WARNING - -  it should be pointed out that this film was originally shot in 'Scope, yet the Blu-Ray DVD releases have inexplicably been released in a 1:78 aspect ratio, compromising the look of the film, where the cinematography is one of the more stunning aspects of the film.  Quoting from this Amazon review written by purplefigment:

 

Buyer Beware.. The Yards [Blu-ray] from Echo Bridge Entertainment:

This is a product review for 'The Yards' Blu-ray release by Echo Bridge Entertainment.

Heads up that this 'The Yards' [Blu-ray] release (and additionally the 'The Yards' / 'The Lookout' (Miramax Double Feature) [Blu-ray]) from Echo Bridge Entertainment is heavily compromised (as are most everything released from their Miramax/Dimension Films partnership so far).

- It has been modified to fit your screen (because modified full screen releases were the best ideas from the VHS/DVD days) with 1.78:1 aspect ratio instead of its original intended 2.39:1 aspect ratio and of below average quality even then.

- It has had its audio mix downgraded from its original 5.1 track to 2.0.

- It is missing the extras that were available on its previous DVD release.

Consider the previous Director's Cut Miramax Collector's Series DVD release (never a good sign when the DVD equals or surpasses a Blu-ray release in areas), The Yards - Director's Cut (Miramax Collector's Series). That DVD release is in its intended aspect ratio, 5.1 audio track and contains numerous extras.