In Japanese legend, Ronin were samurai who were without a master. To be in this position was a cause for humiliation as they were forced to roam the countryside as swords for hire.
John Frankenheimer's film uses the imagery of the Ronin from its opening frames which explain the word's significance. As the drama unfolds we learn that each of the mercenaries in the film could be seen to be Ronin, yet some may be less masterless than they appear.
The script, penned by David Mamet, tries to keep us guessing about the allegiances of each of the major characters. For the most part it succeeds in keeping its secrets yet the result is that it is difficult to know or like its characters.
By not allowing us the information to truly root for any of the characters the film prevents tension from building up. With the script and characterisation both pushing ambiguity it is left to the actors to convey personality and draw us to the characters.
Fortunately Frankenheimer assembled an international squad of actors who were up to the task. Amongst the Ronin are Robert De Niro, Jean Reno, Sean Bean and Stellan Skarsgard - solidly supported by Jonathan Pryce and Natascha McElhone.
The plot concerns the contents of a highly marketable silver metal case. We never discover what it contains but we do know that different groups are interested in acquiring it. The Ronin have been hired to procure this case for their mysterious paymaster.
We begin slowly, Frankenheimer attempting to build atmosphere by slowly adding complications and incident. The characters talk to each other a lot - a refreshing approach to the thriller genre which more typically features oblique phone calls and running around - yet we never get inside their heads and truly understand them.
As the film progresses we begin to get more incident. There is an intriguing build up to an arms deal, a violent ambush and a number of car chases through the narrow streets of various French towns.
The latter are stunning. Closely shot, the camera takes a bumper's view of the action and emphasises the skill of the drivers as they navigate claustrophobic backstreets and weave in and out of traffic. These were some of the most enjoyable sequences and demonstrate ambition and meticulous planning on the part of Frankenheimer.
The gunplay sequences are more mixed in quality. With little rhythm in the way these are choreographed or shot, the director tries to use the soundtrack to try to generate tension and excitement. Elia Cmiral's score is so bombastic and intrusive that it feels more distracting than atmospheric.
As the film nears its conclusion Frankenheimer serves up sporadic bouts of action and plot twists but more miss than hit their targets.
Ronin is a thoroughly mixed bag. The cast has been picked well, the car chases are exciting and it has a couple of excellent moments. On the other hand, its plot is weak and it is hard to emotionally invest in the cold, distant characters.
With a tighter script and some musical restraint this could have been much improved. As it is, this is a flawed endeavour rescued by the chemistry of its Ronin.