Customer Reviews

Ronin Gai

5 star:		(9)
4 star:		(4)
3 star:		(2)
2 star:		(2)
1 star:		(1)

 

 

Ronin Gai tells a story of four different ronins in 1836 that have no solid existence in life, as they have been stripped of titles, income, or meaning. Their introduction into society's poor quickly bestows them a cynical perspective of life. This place had no room for their high morals, Bushido, as it does not put food on the table, or provides a roof over their head. If the ronins were to live by their high ideals in their newly assigned social class it would offer them nothing but belittling and public ridicule. Thus, these bewildered and socially perplexed men of Bushido found themselves taking derogatory odd jobs to pay for the sake in which they could drown their misery and problems.

To fully understand Ronin Gai some historical, political, and cultural perspectives can help the audience through this remarkable cinematic journey. In the 1830s the samurai purpose slowly faded away amidst a peaceful time after centuries of cruel and bloody clan wars. Yet, the clan society still existed in a feudal system run by the Shogun who demands the clan's support, or they had to face war. However, the wars have drained the lands and people's will to fight, which has given peace a chance to root. This meant that there was a surplus of samurai, which often lead the samurai to become masterless either through the death of their master or more likely because the master could not afford them. These samurai became known as ronin, the master-less samurai, who drifted aimlessly trying to find a purpose and hopeful meal ticket.

The samurai code, Bushido, originated from Buddhism, Confucianism, Shintoism, and Zen. Through Buddhism the samurai gained the insight that death was not to fear, because death lead to incarnation and possibly another life as a samurai. The unyielding loyalty of a samurai was derived from Shintoism while Confucianism gave them their principles of human relations. Zen gave the Samurai the knowledge of focus and meditation, which should help a samurai to learn one self and avoid personal limitations. In addition, the samurai were to be righteous, compassionate, loving, and most of all have complete self-control. Combined with all these values Bushido ascends the samurai to be a true and complete warrior. However, the Bushido followed the same diminishing fate as the samurai where ronin had to find an existence among those that did not live or could afford to live by the Bushido.

Ronin Gai opens with a spectacular scene where rain washes away the dirt around a tree exposing its roots. This rain provide multiple symbolical interpretations suggesting that the samurai true nature is about to reveal itself and cleanse the blood from centuries clan wars. Of course additional interpretations are available, as the scene quickly jumps into a duel where to ronin is about to fight to the death while the rain drenches both men. After the duel, one of the story's main character advances to pray for the fallen ronin, but also takes advantage of the situation and exchanges his sword. This further displays the disillusionment of humanity among the masterless samurai, as the sword was something samurai would guard with their lives.

In the absence of war life is flourishing in the little village outside Edo where the story takes place. The main characters have fallen below in social status, to many thugs and thieves, as they struggle for the little income they can acquire. These four ronin find themselves as hired thugs, bouncers, bird salesmen, and even taking advantage of women's generosity. In this society very little has changed for the women, as they still face chauvinism and inferior positions in regards to the men. The women are used to their low social standing while the masterless samurai display depression, confusion, and disregard of the Bushido code to be placed in such a low standard. They escape their miseries through large quantities of sake and the company of prostitutes in the local restaurants and brothels.

The brothel plays an significant part where the geishas appear far stronger than the samurai. When someone begins to ruthlessly kill innocent geishas for sport in the surrounding forest the geishas request the help of the ronin. A chance for salvation arises for the masterless samurai who are sluggish in their attempts to prevent further killings, but eventually they come around to try to regain what they once lost. It is evident that Bushido is about so much more than mere sword fighting, as these men have been stripped of what they once held in high regards - their morals, beliefs, and identity.

Kazuo Kuroki directs a stunningly beautiful tale of the masterless samurai and their lost Bushido. The framing of the film displays several symbolical scenes and notions to ponder that go far beyond the script. It is truly a pleasure watching this film, as characters and actions come together in a final conclusive decision supporting what they all believe. Ronin Gai is a graceful film of self-worth that reaches beyond the cultural boundaries and leaves the audience to ponder several interesting ideas and beliefs.

The early 1800's were a tough time for a samurai. There wasn't much call anymore for skilled warriors. The merchant class was moving up to positions of power. The various lords around the country didn't need and in many cases couldn't afford to have hundreds of retainers. So there were thousands of samurai without employment -- ronin -- who could only hire themselves out, give up their status as samurai and move down to the merchant class, become criminals, or eke out a living as best they could. Ronin Gai takes place in a small inn and brothel on the outskirts of Tokyo. The characters are the women who work there, the ronin who hang about and who have slipped down into becoming drunks or doing unbecoming work for a samurai, and a group of the Shogun's samurai retainers who have become arrogant murderers, preying on the inn's women.

Eventually one of the women takes a stand, and for her courage she is captured and condemned to be torn apart by oxen. Four of the inn's ronin customers shake themselves out their self pity and find the honor and courage they had seemingly lost. One by one they appear in the forest where the hundred samurai have gathered to enjoy the execution. One by one, then together, they take on the bad guys.

The first two thirds of the movie is an excellent story of the women of the inn and the lives of the ronin around them. The last third is a great sword slashing epic, not too bloody, and full of climaxes and more climaxes. This is a movie that is both exciting and thoughtful. The actors do a great job. There's Shintaro Katsu as "Bull" Akaushi, a big, slovenly ronin who is part drunk and part bouncer at the inn. He's a blowhard, but a well intentioned one, and during the climax of the movie he finds a way to redeem himself that is brave and startling. There's Yoshio Harada as Gennai Aramaki, all nihilistic self pity but a great swordsman. There's Renji Ishibashi as Horo, reduced to testing the local lord's swords on the corpses of executed criminals and who loves perhaps too much. And there's Kanako Higushi as Oshin, beautiful and high priced, who eventually sets justice into motion by her example. That's a lot of Japanese names but in time you can sort out who's who. I think the movie is well worth watching. The DVD picture is just fine and the movie is beautifully photographed.

The setting, a poor area outside of Edo, a rundown restaurant and small time brothel. Prostitues, drunken ronin and unemployeed samurai work, sleep and drink, spending most of their time trying to forget the past or plotting to enrich their future. This film has been made with loving care and unmatched knowledge of the film craft that it is hard to put down how good it is, even with a thousand words. It is gritty, touching, rude, lovely and ugly all at the same time. Shintaro Katsu, not to be confused with Toshiro Mifune, plays Bull and really gives the character heart and soul.
Also, the ending is one of the most effective, if not messy, protrays of a sword fight I have ever seen.

It is typical of the Samurai or Chambarra style films; there is an enemy and of course this enemy is the dreaded state itself. I bought this movie because of Katsu Shintaro, who does a great job as always. This film is not about excessive fight scenes, in fact you have to wait until the end to see the spectacular fight (very gory), which includes some awesome iaido. It wasn't my favorite Samurai film, but it certainly has an intriguing plot involving passion, lust, honor, and blood. From what I understand this movie is a remake, I haven't seen the other film so I can't compare them. This movie kept me awake, at even 11pm, which says alot. It has an engaging, yet predictable plotline. I found myself very attached to the turmoil of the geisha in the film, and I felt even sympathy for the ronins. If you want a beautiful film concerning Ronin protecting geisha you will find this in the film. In some respects a very similar structure to a Zatoichi film, but more in depth.

For a comprehensive and excellent review, see Kim Anehall's comments. A tiny bone to pick, however, is the assessment of the close of the opening duel, when the bystander rushes to the fallen duelist and exchanges swords with the slain man. After he absconds with his prize, it becomes clear that the sword he has left with the corpse is bamboo ( another character breaks it in outrage). This indicates the extreme poverty of the thief, since he has clearly been forced by circumstance to sell his sword and has carried a bamboo sword to conceal this disgrace . A similar circumstance occurs in the more recent "Twilight Samurai" when the viewer is told that Sanada Hiroyuki's character had to sell his sword to bury his wife.
The final battle contains some of the best swordplay ever filmed; and oh, that Katsu Shintaro, perhaps his most poignantly heroic scene ever!

"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.

Excellent drama about down and out, displaced ronin (masterless Samurai) wasting away in a dive bar/brothel, drowning their sorrows in sake. Fate intervenes to give them one last shot at redemption and "saving face."

As the Amazon reviewer notes, it bears a passing resemblance to Clint Eastwood's Unforgiven. Eastwood is an acknowledged Japanese film fan, so perhaps this is no accident.

In any event, it is an inspiring story for us middle-aged folk whose lives did not turn out the way we planned, but find solace in the Yogi Berra aphorism, "It ain't over till it's over."

Recommended.

"Ronin Gai," is an excellent film. Set in 1836, the film follows the story of four ronin who have been stripped of their titles. Ronin, who are masterless samurai, became more commonplace in Japan when their services were no longer needed; especially as Japan had become united under the Tokugawa Shogunate; and therefore with warfare behind them there was little else for them to do; other than to sell there services to whomever required it. Yet, for many, there was no work period. With many clans no longer employing their samurai, and letting them go out on their own, many samurai, [soon to be ronin] became poor and cynical. The Bushido code was what the samurai aspired to, yet this did not put food on the table, or clothes on their families backs.

In the absence of strife, which would employ the ronin, the film opens showing the main characters who have fallen on hard times. There is 'Bull Akaushi (the late Katsu Shintaro, of 'Zatoichi' fame), Gennai Aramaki (Yoshio Harada), Horo (Renji Ishibashi) and Oshin (Kanako Higushi). When these four ronin are hired as thugs, bouncers, or anything to make a living to support their drinking, they fall into despair. As one of the reviewers wrote in his title, 'The Seven Samurai meet the Iceman Cometh.' As a result of having a lower status in society now, these ronin no longer look up to, or abide by the Bushido code: As they now must do whatever is necessary in order to survive. The consumption of large amounts of sake to help drown out their problems, while keeping the company of prostitutes, helps them to alleviate their misery.

The first 2/3 of the film basically deals with the brothel, and life of the ronin and Geisha's who are part of the established area that these ronin have now grown accustomed to, while the latter 1/3 of the film deals with more action. However, the character development and plots narrative follow a very good storyline in dealing with the two worlds of these ronin and the Geishas. However, something happens which will give meaning to these ronin. In the film, someone is murdering prostitutes in the nearby forest. The geishas ask the ronin for help in protecting them. Finally, there is a second chance for these ronin who have forgotten their code and dignity. The film, directed by Kazuo Kuroki, is an excellent morality tale of how these four ronin try and regain that lost honor, which they once lived by: Master or no master. The film is highly recommended, and belongs in your cinema collection.

I personally really enjoyed this movie. Reminded me a lot of the old Toshiro Mifune films back when he worked with Akira Kurosawa. As what the Amazon describtion said, it has aspects of Unforgiven, but it is wrong because Unforgiven was written way before this movie came out... unless this movie was written way before that one then I am wrong. But nonetheless it is a good movie, it had laughs and action and drama and all the stuff that makes a movie good.

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