In John Frankenheimer's RONIN a nagging question has been answered once and for all - have car chases become dull and predictable to film audiences in this age of blockbuster effects and computer graphics enhanced features? In this thriller, starring Robert DeNiro and Jean Reno, Frankenheimer demonstrates that the answer is a resounding - NO. Hell no! He also answers another lingering question - is it possible to have too many car chases in a film? Once again, the answer is - NO! Not when they're executed, filmed, and cut together as they are here in RONIN.
Through a mutual contact, Sam (Robert DeNiro), Vincent (Jean Reno), Gregor (Stellan Skarsgard), and Larry (Skipp Sudduth) are brought together in Paris by an IRA operative, Diedre (Natascha McElone). They've been hired to retrieve a metal case, contents unknown, from a group of well-armed, fast driving, operatives.
After the men shoot their way through a botched deal to buy arms from some locals, the team moves on to stake out the villa where the case is being held. Most of the team members mistrust each other - and for good reason. They've all been in the cloak and dagger business too long to be the trusting type. However, Sam and Vincent bond very quickly. They both have cool heads and sharp instincts. It's no wonder that half way through the film, they're the two still pursuing the case.
The team has a good plan for the acquisition of the target. However, at the last minute, things go wrong - they always do. Through a series of double crosses, and magnificent chases through tunnels, on back roads, and down narrow streets, the relentless pursuit of the case continues. At one point, Sam and Vincent find themselves at the villa of a friend, Jean-Pierre (Michel Lonsdale), and in need of some meatball surgery (''I once removed an appendix with a grapefruit spoon'').
The job eventually leads Sam and Larry back to Paris, where, during an ice skating performance by a Russian skater, played by Katarina Witt, all the lose threads come together.
Script: J.D. Zeik's script for RONIN, which was punched up a bit by David Mamet, under the pseudonym of Richard Weisz, is based on a simple premise. A group of former spies and operatives from different countries are hired by an Irish lass, an IRA soldier, to acquire a particular, well-guarded metal briefcase. What's in the case, you ask? The same thing that was in the case in PULP FICTION. In other words - it doesn't matter. All that's important is that people will kill to keep it and people will kill the take it away. In the tradition of Hitchcock, the case is the 'McGuffin' - an element which drives the plot, and motivates characters' actions.
Performances: A real triumph here is the acting. Robert DeNiro, Jean Reno, and Stellan Skarsgard are dealt what could've been flat and familiar characters. However, they don't take their performances lying down. They give their roles life and vitality, and produce a trio of interesting gents. DeNiro and Reno in particular are scarred, beaten and world-weary. Their expressions are intense and thoughtful, and their movements are deliberate, and cautious. These two have real screen chemistry, and a powerful presence. Though the part of an experienced spy - betrayed by employers, and duped by their prey, has been done countless times on film, Reno and DeNiro are very original, and quite memorable.
Cinematography: Robert Fraisse's cinematography is rather dark and brooding. There is perhaps only one brighter exterior shot in the whole film. Most sequences are dimly-lit interiors, or exteriors shot under overcast skies. Blacks are deep and true, and pale color fields are solid. The film has very little in the way of bright colors. There are only occasional radiant blues, and a mix of colors on street signs and storefronts, but what can be seen is nicely rendered, and looks very natural. Flesh tones look good throughout. The film is loaded with rapid pans and tracking shots - necessary to keep up with the growling automobiles barreling in and out of frame. Despite all the rapid camera movement, the image remains sharp and solid - no 'grain' or image breakup.
Sound: All that one can ask from to make this film jump off the screen and swirl around the viewer is right here on this track.
The forward stage is very wide and deep. It wraps around nicely and seamlessly to merge with the split surrounds, and there's no second guessing - these are SPLIT surrounds. During the numerous chase sequences which clip dozens of cars, trucks, and buses and spin them out of control, you can hear the crash, bang, and clatter over the shoulders, as the chase proceeds head on in front of the room. Sirens pass over the left shoulder, explosions over the right, and then we hear screams over the left, and glass shattering over to the right. Of course, it's not ALL loud sounds - subtle, more ambient tones, like dripping water, and crowd murmurs in a subway, are also heard - very clearly.
Panning effects and effects placement in the forward soundstage is excellent. You'll hear the growling engines of the pursuer and the pursued whisk across the front of the room smoothly. The sounds of madness and mayhem are pinpointed very nicely to the left and right of center, and often they seem to move smoothly to the sides of the room as well. This is just fabulous! On-screen images grafted into 360 degree surround field.
The lower channel is sent a fair share of business during RONIN. How else could we have convincing crashes, explosions, and gunfire? A few of the larger blow ups are real teeth rattlers. The sequence where the team manages to corner the guardians of the case on a small, crowded street, is a wonderful 'sound design demonstration scene’ - with thunderous low effects, gunfire, ricochets, yelling, screaming - it's madness! It'll make you smile.
Dialogue is very nicely recorded, sounding clear and natural whether in whispered tones, or screamed commands. Voices never sound distorted or compressed. Elia Cmiral's score is very well recorded and expansive across the forward soundfield and into the surrounds. It's a terrific piece of music, having lamenting passages on a wind instrument, and hustling, bouncy sections which start softly as a chase begins, but then crank up in volume and speed as the action picks up and the tension builds.
Direction: Indeed RONIN has a simple script and one dimensional characters. What makes it such an exciting, gratifying viewing experience is that Frankenheimer takes a tried and true plot device - the 'McGuffin', races around it with a tried and true tension builder - the car chase, and throws in a collection of one dimensional characters, and yet manages to produce an exhilarating motion picture which truly seems refreshing here in the nineties. Excellent direction, editing, and ensemble cast acting add up to make the difference. No bombastic special effects or computer graphics are needed, thank you very much. Frankenheimer, a brilliant director of the old school - that is, pre-summer blockbuster and CG years, reminds us in RONIN that there's no substitute for astute direction and tight, clever editing. Directors like Michael Bay and his MTV - generation contemporaries, can learn a great deal from Frankenheimer, and so could the money men behind the desks in Tinseltown. : Frankenheimer pulls out all the stops - not only with nail-biting car chases, but with a footchase in an old Roman theater, and an exciting, suspense-filled sequence at the skating arena. This is great stuff.
