The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
The best player in the World for movie trailers, Hollywood interviews and movie clips.
47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
The British Academy of Film and Television Arts (BAFTA) recognized some of the year’s best films on Sunday. "Gladiator" was chosen best film, and "Crouching Tiger, Hidden Dragon" took away best foreign-language film honors. Each of these Oscar contenders received four BAFTA awards in total.
Producers Douglas Wick, David Franzoni and Branko Lustig accepted the best film award for "Gladiator," praising director Ridley Scott during their acceptance speech, who lost out on the best director prize to Ang Lee for "Tiger."
Besides best foreign film and best director, "Crouching Tiger" also won for music (Tan Dun) and costume design (Tim Yip). Of BAFTA and the United Kingdom, Lee said: "You've always been great to me. This is like a second home to me now."
“Gladiator” also won the Orange Audience Award for most popular film of 2000. Scott thanked DreamWorks and Universal for their courage in backing a $100 million film in a genre that hadn't been touched for 30 years. "It is especially good to win this on my home turf as I spend so much time in the United States," Scott said during his acceptance speech. "I am absolutely thrilled."
Besides the BAFTA honor for best film, "Gladiator" also picked up awards for cinematography (John Mathieson), production design (Arthur Max) and editing (Pietro Scalia).
British effort "Billy Elliot" won three awards, including best British film, best actor (Jamie Bell) and best supporting actress for Julie Walters.
Julia Roberts was named best actress for her performance in the title role of "Erin Brockovich." Presenter Hugh Grant, and co-star in "Notting Hill," picked up the award for the absentee actress.
Best original screenplay and best sound awards went to Cameron Crowe’s "Almost Famous." Crowe's wife, Nancy Wilson, accepted his award, saying that Crowe was unable to attend the event as a double ear infection prevented him from flying. "He meant this movie as a love letter from his heart to music," Wilson said.
Steven Soderbergh's "Traffic" also won two awards, for adapted screenplay (Stephen Gaghan) and supporting actor (Benicio Del Toro).
Veteran casting director Mary Selway was given the Michael Balcon Award for her outstanding contribution to cinema. Actor Albert Finney was presented with a British Film Academy Fellowship for lifetime achievement, receiving a standing ovation.
The complete list of winners:
THE ACADEMY FELLOWSHIP: Albert Finney
THE MICHAEL BALCON AWARD for outstanding British Contribution to Cinema: Mary Selway
THE ALEXANDER KORDA AWARD for outstanding British Film of the Year: "Billy Elliot"
BEST FILM: "Gladiator"
THE DAVID LEAN AWARD for Achievement in Direction: Ang Lee, "Crouching Tiger, Hidden Dragon"
SCREENPLAY (Original): Cameron Crowe, "Almost Famous"
SCREENPLAY (Adapted): Stephen Gaghan, "Traffic"
PERFORMANCE BY AN ACTRESS in a leading role: Julia Roberts, "Erin Brockovich"
PERFORMANCE BY AN ACTOR in a leading role: Jamie Bell, "Billy Elliot"
PERFORMANCE BY AN ACTRESS in a supporting role: Julie Walters, "Billy Elliot"
PERFORMANCE BY AN ACTOR in a supporting role: Benicio Del Toro, "Traffic"
FILM NOT IN THE ENGLISH LANGUAGE: "Crouching Tiger, Hidden Dragon" (Bill Hong/Hsu Li Kong/Ang Lee )
THE ANTHONY ASQUITH AWARD for achievement in Film Music: Tan Dun, "Crouching Tiger, Hidden Dragon"
THE CARL FOREMAN AWARD for Most Promising Newcomer to British Film: Pawel Pawlikowski
CINEMATOGRAPHY: John Mathieson, "Gladiator"
PRODUCTION DESIGN: Arthur Max, "Gladiator"
COSTUME DESIGN: Tim Yip, "Crouching Tiger, Hidden Dragon"
EDITING: Pietro Scalia, "Gladiator"
SOUND: Jeff Wexler/D.M. Hemphill/Rick Kline/Paul Massey/Mike Wilhoit, "Almost Famous"
ACHIEVEMENT IN SPECIAL VISUAL EFFECTS: Stefen Fangmeier/John Frazier/Walt Conti/Habib Zargarpour/Tim Alexander, "The Perfect Storm"
MAKE UP/HAIR: Rick Baker/Kazuhirop Tsuji/Tony G./Gal Ryan/Sylvia Nava, "How the Grinch Stole Christmas"
SHORT FILM Gary Holding/Justine Leahy/Tinge Krishnan, "Shadowscan"
SHORT ANIMATION: Claire Jennings/Willem Thijssen/Michael Dudok de Wit, "Father and Daughter"
ORANGE AUDIENCE AWARD: "Gladiator"