Image Courtesy of Amazon.com
Director:
John Frankenheimer
Cast:
Robert De Niro……….Sam
Jean Reno……….Vincent
Natascha McElhone……….Deirdre
Stellan SkarsgÃ¥rd……….Gregor
Sean Bean……….Spence
Skipp Sudduth……….Larry
Michael Lonsdale……….Jean-Pierre
Jan Triska……….Dapper Gent
Jonathan Pryce……….Seamus O’Rourke
The Movie
In the last couple years Robert De Niro’s choice in movie roles has been a bit suspect, as he’s taken enough shots at his tough guy image that spoofing a tough guy seems to be his new image. For a man who made his mark on being a tough guy in mob movies and action thrillers, it’s sad for long time fans to see the man as a comedic foil opposite Ben Stiller and Billy Crystal. For the guy who was one of the toughest, meanest, nastiest bad guys in such classics as HEAT, Goodfellas, Mean Streets and Casino (amongst others), it’s hard to watch De Niro exchange one liners with actors whose resumes can’t compare with the man many consider to be the greatest actor of the last 50 years. It can be said, then, that perhaps Ronin was the last film in which De Niro was the tough guy of legend.
Ronin feature De Niro as Sam, a former covert operative turned mercenary for hire in need of the money. With the end of the Cold War, Sam’s services are no longer required and he’s a warrior without a lord. Sam is part of a group of other assembled mercenaries from all parts of globe hired for a mission. Deidre (Natascha McElhone) and Seamus (Jonathan Pryce) have hired Sam, a Frenchman (Jean Reno), Gregor the ex-KGB computer expert (Stellan Skarsgard) and weapons expert Spence (Sean Bean).
They are to acquire a package in transit, being held by a group of highly trained protectors. What is in the package they don’t know, but it’s up to them to work together to get it. What starts out as an ambush turns into a double cross as a member of the team walks out with the briefcase, which is wanted by both the Irish and the Russians. From here it’s a thrilling action movie that functions from chase scenes, fire fights and further complications.
And it is a rare turn for De Niro as an action star as opposed to a more dramatic role, as he gets to show off a dramatically enhanced action persona that he used in HEAT. While not nearly as developed as a character as he was in HEAT, De Niro puts in what is perhaps one of his last good performances as a former CIA spy trying to make a somewhat honest buck. De Niro seems to inspire the cast, as veterans like Sean Bean and Jean Reno step up their normal high level of acting to try and keep pace.
But the key to the film is its tight script and inspired action sequences. The film is written well, never establishing anyone as a villain or a hero. These aren’t wonderful people, but we can see their motivations and sympathize. As the film moves forward, story-wise, there’s a lot more to play than merely action sequences. The action is crisp, too. Frankenheimer has developed the story well, but his action sequences are designed to keep the film’s plot moving quickly. They are crisp and logical as well as entertaining.
Score : 9 / 10
The Video
Presented in a widescreen with an Aspect Ratio of 2.35:1, the film has been cleaned up somewhat since its first release on DVD. While the original was a high quality transfer, the film has been enhanced even more and looks better than it did.
The Audio
Presented in a Dolby Digital 5.1 format, the film’s audio has been upgraded as well. While the original was also well done, this upgraded transfer is a bit clearer and better separated. The film’s score is also much clearer and crisper than before.
The Extras
Disc One
Alternate ending is a slightly different take on the film’s ending, as a major character comes back and almost interrupts the final coffee talk between Sam (De Niro) and Vincent (Jean Reno).
Audio commentary with Director John Frankenheimer
Disc Two
Original Venice Film Festival interviews with Robert De Niro, Jean Reno, and Natasha McElhone are some interviews from the trio about the film as they talk about certain points about the film. There isn’t much really of note that is said, as they go over various character and plot points in the 20 minutes of screen time that is shown. It is interesting to hear them talk about the film in promotions, though, as it’s not something that really is shown too often.
Ronin: Filming in the Fast Lane is a 17 minute documentary about the film with the principle members of the cast as well as John Frankenheimer talking about the film in a very frank manner. There’s a lot to be discussed, as SkarsgÃ¥rd and the cast talk about their characters in an in-depth manner and how they invented back stories about them in order to be able to be in character as effectively as they are. The stunts and the rather complex driving sequences also get some time for background development, as stunt drivers were hired and the cars were altered to allow the cameras to film and the stunt driving to be done with the actors in the cars.
In the Cutting Room with Tony Gibbs is an interesting look at one of the over-looked parts of film-making that runs 18 minutes and is about how the film was edited together. With Gibbs using his background in English Theatre as a backdrop for his entrance into film, he discusses his love of film and how he was able to go from being on set to being in an editing room and discovering his love of editing. Gibbs talks a lot about how he was able to shift shots and sequences to create the sort of setting and pace he needed; Gibbs compares editing to fingerprints and how every great one has a distinct set of how they set things up.
Composing The Ronin Score focuses on Elia Cmiral, the film’s composer, and how he designed the film’s score. The film was already shot, cut and edited by the time he was able to start working. It’s interesting to hear Cmiral talk about how and why he scored what he did, as he worked with Frankenheimer as well to try and coax the proper emotion out of the music to fit the foreground action.
Natascha McElhone: An Actor’s Process is a 13 minute feature that focuses how McElhone was able to hone her character as well as working with the sort of actors in this cast. McElhone in particular talks about working with De Niro, as she learned a lot and he was great in helping her raise her acting level up to the rest of the cast. It’s interesting to hear talk about what it was like to work with the actor candidly, as opposed to the usual sort of “everything is wonderful” drivel, and it’s interesting to hear her talk about the man’s intensity and how much of a true professional he was on the set.
The Driving of Ronin focuses on the stunt drivers behind the film’s chase sequences. Running around 15 minutes, this feature has a lot about the drivers they chose and why they chose them. The entire stunt driving team was chosen from the ranks of professional race car drivers in Europe, as the film’s chase sequences needed a lot of skill and precision and the feeling was that professionals would have the sort of nerves and lack of panic required for the stunts, which were trickier considering the amount of work done outside the U.S; apparently the U.S is viewed as much easier for stunt work due to being able to work much more effectively with local authorities.
Through the Lens is a featurette with Director of Photography Robert Fraisse talking about how the film was shot in terms of both lighting and camera work. Fraisse talks a lot about how to be able to capture a stunt sequence with a number of cameras and different shots, as piecing together a sequence to him is a matter of close-ups and using a long lens. He also talks about his work with Frankenheimer was interesting as the director was concerned with how the scenes were shot when many directors seem more interested in handling actors first and foremost. Running around 17 minutes, it’s interesting to hear and see which shots Fraisse liked most and how he set them up. He also hands out accolades to some of the camera operators as well, pointing out some of the shots and how they were achieved in different ways than what one would expect.
Animated Photo Gallery
Score : 9 / 10
