Directed by:
Roman PolańskiCinematography:
Pawel EdelmanComposer:
Alexandre DesplatCast:
Ewan McGregor, Pierce Brosnan, Kim Cattrall, Olivia Williams, Tom Wilkinson, Timothy Hutton, Jon Bernthal, Tim Preece, Robert Pugh, David Rintoul, Eli Wallach (more)VOD (2)
Plots(1)
When a successful British ghostwriter agrees to complete the memoirs of former British Prime Minister Adam Lang, his agent assures him it's the opportunity of a lifetime. But the project seems doomed from the start - not least because his predecessor on the project, Lang's long-term aide, died in an accident. The ghostwriter flies out to work on the project, in the middle of winter, to an oceanfront house on an island off the U.S. Eastern seaboard. But the day he arrives, a former British cabinet minister accuses Lang of authorizing the illegal seizure of suspected terrorists and handing them over for torture by the CIA - a war crime. Lang faces prosecution by the International Criminal Court, unless he stays in the U.S. or goes to another country that does not recognize that court. The controversy brings reporters and protesters swarming to the island mansion where Lang is staying with his wife, Ruth, and his personal assistant (and mistress), Amelia. As the ghostwriter works, he uncovers clues suggesting his predecessor may have stumbled on a dark secret linking Lang to the CIA - and that somehow this information is hidden in the manuscript he left behind. Adam Lang is assassinated, but the ghostwriter eventually completes the book anyway. During the presentation of the book, the ghostwriter stumbles upon the clues to the mystery. (official distributor synopsis)
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Reviews (13)
After Polanski's arrest in Switzerland, several articles about him and his work naturally appeared, and at that time, among journalists, there was often the opinion that Polanski's crucial films were in the first half of his career and that he was no longer coming close to the quality of his early films today. I get the feeling that it is exactly the opposite. Although Polanski's work is very balanced, if I had to talk about weaker films, I would name, for example, the famous The Fearless Vampire Killers, which today seems desperately worn out to me, while on the contrary, his later films inspire me much more than the familiar classics. I consider The Ghost Writer to be a top-notch political thriller that, in my opinion, even defeats classics like Three Days of the Condor, and it significantly surpasses films like The Parallax View. This film is a precise work that has returned the sound to the classic methods of building tension, which were introduced, for example, by Hitchcock. By the way, Polanski's work seems much more Hitchcockian to me than any of the old master's films because, unlike Polanski, Hitchcock had quite large fluctuations in the quality of his productions and has dozens of mediocre films to his credit. In addition, Hitchcock's work has been noticeably affected by the passage of time in most cases. Polanski not only creates an excellent atmosphere but also relies on an excellent screenplay that, in its simplicity, is unpredictable and leads the viewer along by the nose for a long time. And finally, the acting performances of Ewan McGregor, Pierce Brosnan, and Olivia Williams complete the feeling of a top-notch spectacle. The Ghost Writer does not rely on chases, fights, or high-tech gadgets; its qualities lie in precise dialogues - I consider the clash between McGregor and Tom Wilkinson, with many subtleties and hidden threats, to be a treat - in the interplay of music, camera work, well-chosen pacing, and the screenplay. It's just a shame that new films have a much harder time than old classics, which are aided on one hand by nostalgia but on the other hand don't have to face the criticism and evaluation of viewers who are much more removed from this genre. Overall impression: 95%.
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The plot is actually about nothing and the story as a whole is not one of the most thought-provoking and formally unique, but Polanski confirms his qualities and delivers another piece of proper filmmaking, which, hand in hand with an excellent acting duo, is an ideal programme for a long winter evening. I actually don’t see any reason to look for flaws when I had a good time with a well made film...
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I almost want to give it more stars, because I haven't seen such a seemingly peaceful, yet every minute more incredibly dramatic and suspenseful film in a long time. Apart from Brosnan and McGregor and the precise direction of Master P., worth highlighting is the truly good music by Alexandre Desplat, the role of Eli Wallach (how does an old man still do that?), the slowly escalating atmosphere and the final quarter of an hour. I'm giving it four and a bit.
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It's not really rocket science, as we learn at the end, but Polanski pulls the viewer along very skillfully throughout. The cold and distant atmosphere created by the weepy weather and one architecturally ornate house works. It's not classic "schizophrenia," but McGregor's paranoia grows to unsuspected proportions as the minutes tick by, especially with the equally excellent ensemble cast around him, and I waited for the climax with the eagerness of a small child. The handing of the tickets is one of the most intense scenes of the year. 4 ½.
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It is almost admirable how Polanski managed to create a small cinematic treat out of a seemingly dull, shabby and not very exciting premise. Everything from the actors to the pleasantly old-fashioned direction works like a Swiss watch, the tension is not created by flashy moments, strained dialogue or, God forbid, action, but by an omnipresent paranoid atmosphere, the distant setting and the eternally cloudy weather. I'd be lying if I said I wasn't surprised by the final twist (although the film doesn't stand on it) and I applaud Polanski for the ironic slap to the unprepared viewer at the very end. 4,5*.
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