Ronin Gai (1990)

Lame at best

The one thing that got out of this film was, don't trust the amazon ratings. I am a avid fan of Japanese cinema and this film was a disappointment at every level. I can't think of a film that I liked less...I wanted to compare it to "Imprint" but it doesn't even stack up to that...and that's pretty sad. June 9, 2008

A Different View of the Jidai Geki Legend....

RONIN GAI (1990) or "Streets of the Masterless Samurai" is an award-winning remake to Masahiro Makino's original. Directed by Kazuo Kuroki (Tomorrow), the film also commemorates the 60th death anniversary of Shozo Makino; dubbed the father of Japanese cinema. Shozo Makino is the one individual who revolutionized Japanese cinema by incorporating Western style and sidestepping the usual limitations of "plays" in cinema. This is also Shintaro Katsu's last role as the Ronin named Yagoemon "Bull" Akaushi. Shintaro Katsu is renowned for his roles as "Zatoichi".

Synopsis partially derived from dvd cover:
Set in the 1830's near the end of the age of the samurai, a small town is populated by an ensemble of colorful characters, social outcasts who patronize a restaurant and brothel on the outskirts of Edo. Among them are prostitutes and masterless samurai reduced to drunkenness and debauchery. The disgraced and disillusioned warriors get a chance at redemption when rogue samurai invade the area to murder the prostitutes.

We are all used to the usual Chambara films about the samurai code of honor, loyalty and duty. "Ronin Gai" takes a different approach; it is a Jidai Geki period piece that portrays the samurai legend in a very human and compromised level. Much like Akira Kurosawa's "Seven Samurai" with ronins finding redemption and Yamada's more recent trilogy who explores the thought of a petty samurai; this film goes the whole yards to portray samurai with an almost nihilistic tone of eccentric behavior. These men are commoners, in the lowest level of the social class, definitely not heroic. Ronin Gai (this film and the original) definitely changes the face of Chambara films forever.

These Ronin make their living in any ways possible. Gennai Aramaki (Yoshio Harada) is a drunk who depends on Oshin (refreshingly beautiful Kanako Higuchi), a prostitute in order to eat and drink. Horo makes his by testing swords for wealthy samurai by decapitating corpses. "Bull" (Shintaro Katsu) is one very interesting character; he serves as a bouncer and would go as far as letting the prostitutes' johns to hit him on his head in exchange for a meager amount of money. Bull shows a sensitive side as he also teaches the prostitutes to read and write. Obun's brother is a disgraced samurai who peddles birds to make a living. This may be a problem for the film, as these factors may form an unlikable trait from the audience. The film puts its focus on a small restaurant that is the home for prostitutes. In turn. It effectively portrays the effect of the decline of the feuding warlords that made the samurai obsolete and the dawn of the merchant class.

The film is quite visceral in its execution of swordplay. The direction by Kazuo captures the essence of samurai films in the early years. The swordfight near the end has the blood-splattering effect that we have all been used to. This more modern version may differ from Makino's original script but still retains the strong nihilistic and eccentric attitude established by Masahiro. The performances by the cast are actually quite excellent. If the director's goal is to annoy the viewer with the display of eccentric behavior, then it has been achieved. However, there is a balance to this factor as represented by the very sympathetic characteristics of Oshin, Tahei and Obun. You just can't help but be mesmerized by Kanako Higuchi's beautiful face and very conscientious character as the Oshin. Tahei (Michitaro Mizushima) is the tavern owner who also serves as the conscience and warden of the film's backdrop. Obun (Kauru Sugita)represents the status of a woman during that period, daughters of poor samurai could only hope to attain a better social status if they marry into a wealthy family.

I cannot go to any more detail without spoiling the film. Despite its cast of insufferable characters, I found that "Ronin Gai" to be a powerful piece of Japanese cinema. In its final reel, all the pitiful ronin who exhibit lecherous behavior, do ironically do rise up to serve honor and justice; becoming TRUE Samurai. Kazuo captures the essence of the heroism inherent in the most pitiful individuals in this manner. It also further cements the (counter) cultural traditions of the Jidai Geki that has been established by Masahiro Makino that was first brought to worldwide acclaim by Akira Kurosawa when he directed "Seven Samurai" and "Yojimbo".

Highly Recommended! [4 stars]
March 29, 2008

Good Samurai Movie, Could Have Been Better, Though

When one thinks of great Samurai movies, classic titles like Seven Samurai, Yojimbo, Sanjuro, Samurai Rebellion, Harakiri (Seppuku), The Hidden Fortress, The Sword of Doom, etc, come to mind. In the last 15 or so years many new classics have been released - The Twilight Samurai, When the Last Sword Is Drawn, and The Hidden Blade, among them.

In 1990, the film that may have gone a long way towards reviving the Samurai film in Japan was Ronin Gai. Ronin Gai featured a solid cast that included Shintaro Katsu (Zatoichi) in his last role. The film was fairly well written and directed, and had some fine performances from the cast. The mood that director Kazuo Kuroki created is almost perfect for the film. The sets and atmosphere created give the film a genuine period look (unlike some of the lesser Samurai movies), and the cinematography is quite good.

But what holds the film back from being in the top tier of Samurai films that are named above is the script. It's not bad at all, but lacks a solid central hero. The drunked ronin who is played up as a potential hero has to be bribed to attempt to save the day. The more honorable ronin who is in love with the female lead is reluctant to stand up for himself (until the end), and Shintaro Katsu's character is a tough guy without any confidence in his abilities, so he relies on his wits to resolve situations. The screenwriters make it difficult to get behind any of these characters and root for them (again, until the very end, and even that isn't handled as well as it could have been).

The other issue (and it has been mentioned before) is the action/swordfighting in the movie. The word used was, "Sloppy," and that is true. It stretches believability to think that the drunken ronin while falling down, slipping, tripping, and flailing away can successfully take on as many samurai as he does in the final sequence. While Kurosawa's influence on this film is clear, what it lacks is the disciplined, well prepared and choreographed swordfights that most of the best samurai movies have. None of these actors appear as athletic or coordinated as Toshiro Mifune or Tatsuya Nakadai, but that could have been minimized with greater preparation for the swordfight scenes.

Even with all that said, however, Ronin Gai is a good movie. VERY good in spots, which earns it my 4 star rating. Shintaro Katsu gives a remarkable performance, and the rest of the cast is good at worst, and very good at best. As noted before, the mood created by director Kuroki created was very good and fits the story perfectly, so there are many, many positives to point to when discussing Ronin Gai.

Ultimately, while not the best film to introduce a samurai movie neophyte to, it is a movie that converted fans of the genre should watch at least once March 13, 2008

Dynamic Performance by Shintaro Katsu

I am a fan of Shintaro Katsu's blind swordsman movies and bought this movie, because I wanted to see how he changed and/or evolved as an actor, particularly in a completely different role. I was not disappointed. Even though Mr. Katsu's character does not endear him to the audience, he is still likeable, and I found myself overlooking his character's shortcomings. The ending, where his character redeems himself, gave me a satisfying albeit somewhat sad feeling. The movie itself was powerful, and the women's roles were ably portrayed and completely believable. Whether you are a Shintaro Katsu fan or just a fan of the genre, in general, I do not believe this movie will disappoint. June 18, 2007

Once were warriors

"Ronin Gai" is almost a metaphor for the entire Samurai genre. Bereft of meaning, no longer following a cause, once powerful figures struggle to keep their dignity, or else they surrender to their despair and try to forget their faded glory in drink and easy pleasures. Comparisons are often made between this film and "Unforgiven", as both are transition films that bridge a maturing genre from something that has become a parody of itself into something that can still have a powerful message.

It features the final starring role of the legend Katsu Shintaro. Once famous for his role as the powerful and charming sword fighter Zatoichi, Katsu in his middle age had become a bloated pleasure seeker, and is hardly recognizable under the layers of fat and handsome face ruined by hard drinking. In perfect casting, Katsu plays the warrior Bull, a pathetic figure who earns money for his liquor by working as a bouncer for a local brothel. His story is entangled with three other former samurai, Magohachiro, who sells birds for a living and is attempting to regain his position with a local lord, Gennai Aramaki, a powerful warrior who lives for nothing but alchohol and women, but holds the heart of a beautiful prostitute, and Gonbei Tanomo, the only one who reserves a vestige of dignity in his faded state.

The four are brought together when a overzealous band of retainers of the Shogun begin murdering prostitutes, considering them a taint on the honor of the samurai tradition. Because of their status, they are untouchable by the local authorities, but for former samurai with nothing to lose find that they are not so far gone as to stand up for the lowly who cannot protect themselves.

The story of "Ronin Gai" is very dark, and deals with heavier themes than are usually found in the genre. It still retains the pacing of classic chambara, with a long slow build up to an explosive finish. The action and sword fighting are excellent, showing that even someone as weathered by life as Katsu Shintaro can still stand tall in the saddle when the old passion strikes. March 5, 2007

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