The Ghost Writer

I went in to see this film without any prior knowledge of what it was about. I kinda like that when I see a movie... I only knew that Ewan McGregor was in it and that was good enough a reason for me. The first two things that I noticed in this film was the cinematography and the score. I thought that the cinematography was beautiful and the settings were stunning. There was a reason why everything had a certain look about it. The opening music at the beginning was also another hint that something is quite off through the whole movie. This isn't going to be a run-of-the mill mystery story; this is so much more.

Without giving away anything, there is so much to see and speculate on when you are introduced to the characters. I didn't realize until the very end of the film that you are never hinted as to ANYTHING about The Ghost. More than once I was going over in my head to try and remember what his character's name was, but to no avail. Ruth's character is something else completely compelling and curious. Truly brilliant characters in this story.

I would definitely recommend this movie to anyone who is looking to go see a truly amazing and cerebral film. It doesn't mess with your head in the way Shutter Island did, but it makes you think and it really leads you down every single road of the map, all at the same time.

Roman Polanski's 'The Ghost Writer' bears the most in common with his recent 'The Ninth Gate'. The comparison starts this review as many others will inevitably find some comparison to be made with the director's work, especially since his personality looms so large.

The plot has been described countless times and will be spared here. What instead fascinates is the depiction of Ewan McGregor as the nameless protagonist. He has no family, no real attachments so to speak, and no real drive. Like Johnny Depp's "book detective" in 'The Ninth Gate' his reason for existence seems to be to serve those higher in society. McGregor plays the party well, never completely convincing in one state or the other. Even when under duress his physical movements speak much more about his mental state than his mannerisms. This could be interpreted as Polanski's examination of apathy within larger society. What I mean by that is to say that it is through the Ghost's lack of interest that one can observe the world.

Shot by Pawel Edelman, who has collaborated with Polanski in the past as well as with other heavyweight Polish filmmaker Andrzej Wajda, the images of 'The Ghost Writer' suggest a cool bleakness. Accompanied by a poetic score by the always reliable Alexandre Desplat the film suggests a constant looming menace, embodied by the rain of the New England island. The camera often remains static, sometimes zeroing in for reactions, but always showing a complete action through a singular movement or lack of movement. Often times the characters seem resigned to their fates. The roles each person plays in the story are very clearly defined. Former-PM Adam Lang (Pierce Brosnan), surrounded by his lackeys, anti-war protesters, etc. all seem just pieces of grander scale. Polanski's world view is so thoroughly and crisply represented through this visual style it is as if the individual events are not as important as the atmosphere in general.

This is precisely why the film works, because of a director so in command of his craft. The film runs over 2 hours but every decision feels completely blocked and planned out. Every image carefully composed, every moment of information tightly plotted. 'The Ghost Writer' works terrifically by raising your blood level in this manner. Some will inevitably complain it makes the film seem merely serviceable when such expected plot twists occur. Yet I can think of few filmmakers so readily able to create such a vivid world and sustain it greatly. There are some pacing issues and the music can be overbearing. These are not unlike the problems facing Martin Scorsese's 'Shutter Island'. The talent of all involved makes the film exceed a workmanlike thriller even though the atmosphere on set was so mathematical.

A very enjoyable, meticulous film that demands and rewards patience. Worth seeing.

This is a connoisseur's movie. It needs to be consumed slowly and deliberately to truly enjoy everything that has gone into it. Watch it carefully, there is a lot going on under the surface.

Yes, it's a thriller, and as such parts of it are fast paced, but what it does so well is to misdirect your attention for a while before snapping you back to focus.

There are no wasted words, nor gratuitous scenes in this movie. Just like a Hitchcock movie, the scenes are all necessary, even if they are symbolic.

The acting is first rate, and I say that because much of the tension in the movie comes from the way the characters act, not special effects, not plot points hammered in over and over again.

It is a very dark movie, and the darkness is nicely set off by humor and sarcasm in a few spots.

No doubt Roman Polansky knows how to build a gripping movie, with craft and wit, in this case a political thriller, where references to Blair and Bush are no so much explicit, but subtle enough to be perceived somehow. Reviews underlined a style resembling Hitchcock: indeed, the story proceeds, creating suspense, thrill, without appealing to excessive action or shock, although never reaching Hitchcock's subtlety of insight and mystery, both in characters and situations. Mostly, the plot proves some loose ends as the craftily prepared intrigue seems to come to a hasty ending, leading to a finale which does not appear up to the great potential and high expectations of its previous development.

Convincing and well-focused performances by the whole cast, especially by Ewan McGregor who keeps a high-level performance, never abusing his intriguing role, but thoroughly contained, Pierce Brosnan proves good in his part, although his past stereotyped roles make it difficult to see him credible as a former prime minister, Olivia Williams as his wife Ruth delivers a smart and talented performance. Quite interesting are some minor characters, such as the members of the service, or the old man living on the island, who enhance, despite or probably thanks to their more silent presence, the mysterious atmosphere of the story.

The Ghost Writer (2010)

A very conventional political thriller, well done, smartly paced, but a bit drab or slow at times, too.

And familiar.

So you go into this kind of movie looking for what distinguishes it, like the understated performance by Ewan McGregor. And the really gorgeous setting, which looks so much like either Martha's Vineyard or Nantucket you'd swear it was. But in fact the utterly incredible house was built for the movie on a sandy island in northern Germany called Sylt. Most of the movie, in fact, was shot in Germany, including Berlin (which was meant to be London), for the simple reason that the director, admitted sex offender Roman Polanski, couldn't travel to the U.S. without being arrested. There are a few driving scenes and scenic inserts that were filmed on Cape Cod (in the U.S.) without Polanski's presence.

It's interesting that Polanski wanted to make a film that had to be set here even though it made things difficult. Doubly so because his protagonists are all British, making weakly disguised references to Tony Blair (Pierce Brosnan doing a routine job--he really can't act worth beans if an actual emotion is required) and his wife (Olivia Williams, who is absolutely terrific, award material).

Which brings us back to McGregor, playing a ghost writer for the ex-prime minister's memoirs. He's really terrific at playing someone with savvy but also naiveté. He's smart but at first so trusting he gets into what is obviously a dubious job, his predecessor having just been killed. But we are lulled, too, until events internationally unravel the situation and he discovers some inside information. Of course, this puts him in more danger, and us in more suspense.

It's good, very good, but we have been here before. The details are different, but the intrigue is the same. Yes, we know about this shadow government where people are manipulated and assassinated while the news coverage is rose and contrived. Yes, we have seen the detemined innocent set out to prove the truth. Even the direct facts, that this young writer is going to rewrite his predecessor's apparently finished memoir, and then begins with the most basic interviews of the subject, don't shape up.

You'd never know this was directed by Polanski. Or would you? If you look at his earliest films you'll find some edgy, almost cruel quality ("Repulsion") but if you see "Chinatown" you'll actually have a parallel to this one--a well made film in a conventional container (that one has an amazing Jack Nicholson to lift it up). There is of course "Rosemary's Baby," which was lifted by a really creepy story. For "The Ghost Writer," Polanski's last film, you keep thinking there will be a real twist, something large and bizarre or just chilling, but it doesn't really happen. In fact, when the memoir gets published it's all a bit anti-climactic.

And so, the final ten minutes, at a party, feels like a desperate attempt of the writer, and director, to make all this effort more than just another polished intrigue. At the last minute, a highly improbable final discovery occurs, followed by an even more improbable and shocking last ten seconds. Surprised, we sort of say, okay, I get it, and that's that. Not exactly the reaction you'd want to have after a decent two hours preparing.

I say no more except that the final seconds are also an homage to Stanley Kubrick's "The Killing." You'll see. Nice touch.