Shintaro Katsu's last film appearence
Genre(s): Jidai Geki, Drama
Origin: Japan
Length: 117 min
Studio(s): Shochiku Co.
Director(s): Kazuo Kuroki
Producer(s): Yoshito Yamazaki, Yoshiki Nomura, Yasuki Tarumi
Action Director(s): Kanzo Uni, Hiroyoshi Yamaguchi
Writer(s): Itaro Yamagami (story), Kazuo Kasahara (script)
Cinematographer(s): Jin Takakiwa
Music: Teizo Matsumura
Rated: NR - strong violence & mild gore, some sexuality & mild nudity
Cast:
Yoshio Harada ... Gennai Aramaki
Kanako Higuchi ... Oshin
Renji Ishibashi ... Gonbei Horo
Kaoru Sugita ... Obun
Shintaro Katsu ... Yagoemon 'Bull' Akaushi
Kunie Tanaka ... Mangozaemon Doi
Hiroko Isayama ... Oyo
Takuya Fujisaki ... Sakichi
Moeko Ezawa ... Otoku
Natsu Nakamura ... Onaka
kungfucinema wrote:
Roningai (1990)
AKA: Street of the Ronin; Street of the Masterless Samurai
Premise: A restaurant outside of Edo in the early 19th century is a hangout for whores, lechers and unemployed samurai known as ronin. A group of dissatisfied samurai begin murdering prostitutes and even the restaurant's owner. When a prostitute named Oshin tries to fight back and is captured, three swordsmen come to her defense.
Review: The Japanese are true masters of cinema and Roningai is proof positive. Director Kazuo Kuroki paints a rich and detailed tapestry of flawed characters and brutal violence nearing the end of the age of samurai that carefully builds up to an eruption of intense swordplay in the final act.
It is a period on Japanese history marked by transition from the feudal era where samurai were near the top of the social ladder to an era of relative stability leading into the Meiji Restoration. Roningai follows the pitiful lives of a number of people who converge on a restaurant just outside of Edo and must contend with murderous samurai. Aramaki Gennai, a wild ronin reminiscent of Toshiro Mifune’s Kikuchiyo from Seven Samurai arrives to resume a bawdy relationship with a high-priced prostitute named Oshin. She’s also the object of desire for a more reserved ronin named Horo Gombei. A third warrior known as “Bull” has become the self proclaimed protector of Oshin and all of the prostitutes who frequent the eatery. Another frustrated warrior named Doi lives with his sister and has become a breeder of smelly birds. Trouble begins as one by one; the prostitutes begin to turn up dead. Growing fear and uncertainty reaches a fever pitch when the restaurant’s owner is also killed. The killers themselves, a group of samurai and their retainers crash the funeral and declare both their distaste for the world’s oldest profession and their intention to kill any more who continue the practice. Incensed, Oshin and Doi’s sister plot their revenge by setting a trap in order to shoot the first samurai who attacks with a pistol. Bull, who has sold himself to the samurai foils the attempt and the two girls are captured. After incriminating evidence of the samurais’ illicit activities come into the hands of Doi, his sister is released and Oshin comes in danger of being torn apart by real bulls unless the ronin turn up with the evidence. Still in a drunken stupor, Gennai shows up first to challenge over 100 men single-handedly. Learning of Oshin’s plight, Gombei then plows into the fray. Finally, Doi in full armor rides in on horseback and the three warriors fight furiously to save Oshin.
Kazuo apparently chose filmmaking over a career in the ministry after becoming inspired by the films of Akira Kurosawa. This film clearly displays those influences and perhaps most noticeable are the details. Everything from the sets and costumes to the story structure and camera work is meticulously recreated and used. Also like Kurosawa’s films, the characters are dark and tragic. One difference is that instead of watching them descend into darkness, they begin there and rise out to become noble. It’s hard to describe just how well this is done. Initially, Oshin is frivolous and Gennai is a drunkard seemingly uncaring about the murders or anything else. Gombei is cowardly in his secret affections for Oshin and later endures humiliation as a result. Bull is both a coward and an opportunist who sells himself to the samurai. Even Doi, who has actually managed to earn a living, browbeats his supportive sister while dreaming of being a samurai again. All of these characters are fairly unlikable. But as they become challenged by the murderous samurai, they all eventually rise to the challenge and prove to be better than the samurai who scorn them.
As a chambara film, the swordplay action is fairly sparse until the final scene, but it more than makes up for it. Holding back on the action actually has the positive effect of making the finale fight seem all the more startling. You’ve almost come to expect nothing from these swordsmen and when they leap into action, the result is incredible. The actor who plays Gennai gives a wonderfully expressive physical performance as he stumbles around flinging bloodied swords about. His hair which is out of control reminded me of Max Mok in The Assassin and although that is no compliment, his frenzied role is definitely a highlight.
Roningai is a terrific chambara film and also a fine example of how character and depth need not be sacrificed for action and excitement. With excellent production values, acting and a simmering plot topped off with an incredible finale, you are strongly advised to seek this film out. -
- Mark Pollard
http://www.kungfucinema.com/reviews/roningai_053105.htm