Monday, September 28, 1998
Wayless warrior
FILM: The classic car chase
is brought back to life
in ‘Ronin,’ Robert De Niro’s new film about a group
of men wandering the Earth
By Lonnie Harris
Daily Bruin Staff
The car crash is perhaps the action genre’s most beloved
tradition. Since the earliest days of the modern action film,
directors have used car chase sequences as some of the most
elaborate set pieces in their movies, translating the generally
mundane act of driving into an operatic and chaotic demolition
derby. Unfortunately, filming a truly intense and original car
chase in the 1990s has proven to be a task most directors are
simply not up to. Any possible combination of shots and locations
has probably been used in some other generic action flick.
Director John Frankenheimer’s fantastic new film "Ronin"
includes its fair share of car chases (more than any other movie in
recent memory). Instead of coming off as a tired and formulaic
device simply meant to provide a few gratuitous explosions, "Ronin"
plays almost like an ode to the concept of the car chase, and
features some of the best-filmed and most visceral of these scenes
ever put on film.
The movie deals with a group of Ronin, a Japanese word for
warriors who have lost their master and are left to wander the
Earth looking for mercenary jobs. Not much is known about these men
without a country as the film opens, except that one is a
know-it-all American (Robert De Niro), one is a quiet Frenchman
(Jean Reno), one is a sly German (Stellan Skarsgard), and one seems
to be both amateurish and Irish (Sean Bean). Though we slowly get
more of a feel for these men and their histories, the film never
really delves into their personalities or gives the audience a feel
for who these men are. But, no one will have the time to notice,
because the film moves at such a clip that all minor details are
quickly ignored.
These Ronin are hired by a mysterious Irish woman (Natascha
McElhone) to retrieve a briefcase currently being held by a group
of about 10 men. They will have to stage an elaborate heist to take
the briefcase and then escape before the authorities arrive at the
scene. Of course, something during the heist goes awry, and the
surviving Ronin must set out on a cross country (in this case,
France) search for the missing item.
As with any action movie, the plot details are incidental. The
enemies being used here, namely the Irish Republican Army and the
Russian Mafia, aren’t terribly original. In fact, "Rounders,"
currently in release, also claims the Russian Mob as its
antagonist. This is becoming something of an epidemic. Despite a
few witticisms thrown in by co-screenwriter David Mamet (under the
pseudonym J.D. Zeik), no one is here for the banter or the
narrative.
What really matters in "Ronin" are the action scenes, and they
come fast and furious. Frankenheimer, a director with experience in
this type of action film, doesn’t try to vary his technique too
much or play with the concept of the car chase. Instead, he uses
traditional camera angles, music and movement to create a homage to
the sequence. He imbues some of the chases with moments from other
memorable car chase films, including "Bullit," several James Bond
films, and even the director’s own "French Connection II."
This is not to say that the chases aren’t exciting beyond any
sort of analysis. No one could deny that there is just a sheer
intensity of movement in "Ronin," making these action sequences
truly memorable and fun.
One in particular, a chase through a tunnel and then on a
highway into opposing traffic, is not only impressive from a
technical standpoint, but is also thrilling in the same way that
"Speed" was a few years ago: The audience gets wrapped up in the
action and forgets that this is simply a movie. Even jaded
filmgoers will have a hard time not getting totally involved in
this chase, rooting for the good guys as their vehicle swerves
out-of-control and nearly reaches the brink of total
destruction.
For their part, the actors do a commendable job, especially when
one considers that their role is basically to drive the car and
maybe toss aside a few sarcastic barbs at their opponents. De Niro
is quite good as the brash, and yet also reserved, Sam, and his
performance (when considered alongside his wonderful turn in
"Heat") begs the question: Why isn’t he offered more action-type
roles? Also of note is Frenchman Jean Reno, seen in America in
films like "The Professional" and this summer’s loathsome
"Godzilla." Here, it is apparent for perhaps the first time in an
American film why this French actor is quite so popular. He has a
world-weariness about him, but also a fierce streak and a certain
viciousness that makes him ideal for action-thrillers such as this
one. His casting is absolutely perfect.
How ironic that in 1998, with the glut of expensive,
computer-generated, special-effects-laden action blockbusters
("Armageddon" and "Godzilla" come immediately to mind), that the
year’s best action film to date makes use of perhaps the most
conventional type of sequence still used in films. "Ronin" may not
set any box-office records, but it’s 10 times as exciting as any
lizard, asteroid or vampire hunter.
Photos courtesy of United Artists
Robert De Niro stars as Sam, who joins a team hired to recover a
mysterious briefcase in "Ronin."
After a bloody shootout, Gregor, played by Stellan Skarsgard,
prepares to take the briefcase from its guardian. "Ronin" opens in
theaters on Oct. 2.
Comments, feedback, problems?
© 1998 ASUCLA Communications Board[Home]