REVIEWS
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.
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