Ronin (1998, R)

Directed by: John Frankenheimer

Grade: B

The word ‘trust’ may have found a new meaning in John Frankenheimer’s Ronin.  The term has today come to mean the ability to depend on someone who is also, hopefully, willing to show the same reliance towards the other person.  And the characters of Ronin, only a few of whom are actually fleshed out, are expected to trust each other.  Their attitudes towards most each other is on the more unenthusiastic side, but they come to realize that they must work together; especially after one of their own betrays them (does that come as a surprise?  I naturally wouldn’t think so).  Does the meaning of trust differentiate in Ronin, or does it mean the same?  For what ever meaning of the word we, as individuals, accept, the characters are most likely to be anecdotal in the real world, though fortunately, director Frankenheimer keeps the film, strictly as an action film, to a veritable level, enhanced by a promising cast and more firefights and car chase sequences then it can take to its credit. 

The opening text of Ronin is almost derisory. It explains what real ronin were: they were Japanese samurai warriors without a master, who traversed the Japanese countryside aimlessly, abiding only to their own code of honor.  But that’s not the laughable part.  The laughable part is that this is an action movie, about undercover field operatives, apparently set in modern-day Europe.  So what’s with the ronin in the first place?  As the film progresses, however, we come to understand that we can take these men as modern day ronins, in a way: they may be willing to sell themselves out to whoever offers the highest sum of cash, but they follow their own arrangement of ethics that was established by their superiors earlier.  As we are soon to find out, everyone’s own set of ethics are different. 

So as soon as the opening text gives way to the actual film, Ronin forms into the action-thriller it guaranteed.  The opening shots of Paris set the tone for the rest of the film: the city is gloomy, dark, and almost remorseless.  Where’s the Eiffel Tower, the Louvre, the beautiful blue skies, and the antique, decorated buildings?  Some of these things are mentioned or appear in the background, but they are not the focus of any particular scene.  Frankenheimer is not concerned a bit about romanticizing Paris; he prefers to keep everything down to business. 

The film’s plot may be a little convoluted; meandering amidst car chase sequences, shootouts, betrayals, and plans of action, but it also manages to be surprisingly revitalizing in that it makes effective use out of the MacGuffin plot device.  The briefcase is the MacGuffin: it's contents are never discovered, we never know why it is important—but we do know that the characters are desperate for it, and this drives the story.  Members of the IRA hire five retired, experienced field operatives (their names are Sam, Vincent, Gregor, Larry and Spence) to steal a briefcase, before the IRA’s enemies, the Russians, can get to it first.  Things only get more interesting point when Gregor betrays the rest of the team, stealing the case, and disappearing into France with the intention of selling it to the highest bidder. 

The action sequences, namely the shootouts and the car chases, do not ever show a lack of mishandling by director Frankenheimer.  The cars flash across a road in the French countryside; in the next, they’re zipping through and around the streets of Paris.  Then comes the shootout: bullets flying and hitting everywhere and everyone as submachine guns empty their magazines, and then sidearms are whipped out to finish the fight.  The camera is steady, and the editing is quick.  The product becomes noteworthy. 

The ensemble is distinguished: Robert de Niro heads the cast as Sam, followed by the able French actor Jean Reno as Vincent, and a few other temperate actors: Jonathon Pryce, Stellen Skarsgaard, and Sean Bean to name.  But if there’s a major constituent wrong, then it’s the characters attitudes towards each other.  The exception is Sam and Vincent, who quickly form a friendship early on that never breaks during the story, piecing together Vincent’s knowledge of Paris and Sam's handy experience to form a valuable team.  While this is an efficient team-up, the rest of the characters are so un dutiful.  None of the supporting characters show much respect for one another, choosing to stick to their own backgrounds, and I find it exceedingly surprising that they managed to ‘trust’ each other as well as they did.

However, from an entertainment standpoint, there isn’t a whole lot to complain about.  Despite some inconsistencies in its structure, Ronin proffers thrills, action stunts and a worthy, old-fashioned plot to its credit.  It’s a bigger step up the ladder than the majority of other action flicks have been able to accomplish.  Though many may identify Ronin as an irresolute action flick boosted by a good-looking cast, I find it not too hard to say that Ronin utterly delivers the goods! 

B