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The definition of the Japanese word ronin describes it as a samurai who has lost his master from the extinguish of or the topple of his master. John Frankenheimer (with some final draft succor with the script from David Mamet) takes this understanding of a masterless samurai and brings to it a post-Cold War setting and sensibility that more than pay homage to the large stories and film of the ronin. One particular legend about ronin that Frankenheimer references in detail is the classic record of the 47 Ronin. Ronin shows that in the latter-stages of his career, Frankenheimer was collected the master of the political/spy-thriller genre. He infuses the film with a trusty hard-edge and was able to mix together both intelligence and energy in both the quieter and action-packed sequences in the film.
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The film begins quietly with the introduction of the characters to be interested. We meet each individual in this still 10-minute scene that shows Frankenheimer’s skill as a director more than Michael Bay can in two-hours of mind-numbing action. Robert De Niro as one of the two American mercenaries (or contractors) instantly becomes the focal point for everyone. His casual, but attentive reconnoitering of the Paris bar where the first meet occurs helps invent tension without being overt. It’s with the introduction of Jean Reno as the Frenchman in the group that we catch the buddy-film dynamic as De Niro and Reno snappily build a believable camaraderie born of the times for such men during and after the Frigid War. The rest of the cast is rounded out by an salubrious and high-energy turn from Sean Bean as an English contractor who might not be all that he brags to be. The other American in the group was played by Skipp Sudduth who in his believe understated contrivance more than kept up with the high-caliber of actors around him. Finishing off and adding the darker and seedier aspects of the cast were Stellan Skarsgard as a musty Eastern Bloc (maybe ex-KGB) operative and Jonathan Pryce as a wanted IRA commander wanted by all. The only rupture in all the male testosterone in the film was able played by the fine, yet tough Natasha McElhone. Like Sudduth, McElhone more than keeps up and matches acting skills with the likes of De Niro, Reno and Skarsgard.
The film moves from the meeting of the group to the staunch operation which brought all these disparate characters together. Taking a page from Hitchcock, Frankenheimer and Mamet introduces what would become the film’s MacGuffin. A MacGuffin being a space blueprint which helps motivates each character of its importance and yet we’re left to maintain only that the item is indispensable without ever finding out why. The MacGuffin in Ronin ends up being a silver case which the IRA terrorists, the Russian Mob and seemingly every intelligence agency in Europe wants to earn their hands on. It’s up to De Niro and his group to bewitch the case from another party and this was where Frankenheimer’s skill in seemlessly blending spy-thriller and action film shows. From the set-up of the team and their plans, to a come double-cross during an arms deal to the trusty operation to occupy the case, Ronin begins to disappear at a clipped and tension-filled scuttle. There’s no overly extraneous dialogue. Mamet’s script-doctoring fleshes out the memoir and adds a sense and feel of lustrous professionalism to the characters. Outside of the Bean’s braggart Englishman who gets his commeuppance from DeNiro’s strict professional, everyone in the group had a skill to contribute to the operation and all did it well and believable.
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The action sequences mostly fervent car chases through the narrow streets of Nice, France to the metropolitan thoroughfares and tunnels of Paris. Frankenheimer shines in creating and directing these sequences. Sequences which he’d decided against the spend of CGI. Using what he’d learned and perfected from his enjoy past as a primitive accelerate car driver and from his contain classic film Huge Prix, Frankenheimer outmoded steady life cars and drove them through valid (albeit choreographed) traffic to give the sequences that sense of reality and rush that one couldn’t win with CGI. The car amble scene within the Paris thoroughfare tunnel against traffic has to go down as one of the best car trudge save on film. I and those I saw the film with were on the edge of our seats as both protagonists and antagonists weaved their method through Parisian traffic at high-speed and gunfire. The crashes caused by this car stride looked believable and horrific yet the audience doesn’t behold away from the shroud. With unbiased abit of succor from second unit directors Luc Etienne and Michel Cheyko, Frankenheimer handsome remarkable did most of the filming of the car chases. At times being in the car itself and doing some of the driving.
The fable itself, after all the characterizations and high-energy, tense action sequences, was really bare bones and in itself its absorb MacGuffin. The anecdote unbiased becomes a prop intention to relieve prove the mercenaries’ special sense of honor in regards to working with people who might’ve been enemies in the past and the sunless world they now live in after the collapse of the dark and white sensibility that was the Cool War. One runt bit of trivia that I found captivating was the fact that Ronin included quite abit of actors who portrayed past James Bond villains: Sean Bean (Janus), Jonathan Pryce (Carver) and Michael Lonsdale (Drax) .
In the destroy, Ronin became the last astronomical film from a expansive director. I don’t count Reindeer Games as anything but Frankenheimer picking up a check and the studio dabbling overmuch in the final ogle and feel of that film. Frankenheimer’s Ronin is a blend of colorful dialogue, hard-edged characters, and tense-filled action that he manages to blend together to accomplish a graceful and quick-witted film. The myth may not have made actual sense in the destroy, but the dawdle the audience takes with DeNiro, Reno and McElhone’s character in getting there made for a gargantuan time for all.
This movie is an instant classic for Robert De Niro and Jean Reno fans. Natascha McElhone is a sparkling dazzler combining a sensuous understated beauty with a journeyman actor’s presence. With a simple study or a roll of her eyes she speaks volumes. De Niro has never been tougher or more compelling as the everyman, Sam. He reminds me of Bogart in his grittier roles. Jean Reno is fast becomming one of my celebrated actors. He is a man’s man with a trusty delivery and deep gloomy eyes. He also adds the aura of the world weary but stoic Frenchman to the mix. I adore French and the bits of French dialogue interspersed in the movie resonate with wryness. The interplay and rapport between the Jean Reno and Robert DeNiro characters plays factual and is one of my popular things about this relatively realistic action film. Frankenheimer has a friendly view for detail and the cutters have done a satisfactory job. This account will retain you on edge for most of its running length. The action scenes are crop in mammoth swaths that leave you wanting more. Find this film and an Audi S8 while you’re at it. You wont be sorry.
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