Wayless warrior

Published: Monday, September 28, 1998

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.

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