The Ghost Writer (2010)
★★★ / ★★★★
Adapted from Robert Harris’ novel, Ewan McGregor played a ghostwriter who was hired to help complete an ex-British prime minister’s (Pierce Brosnan) memoir. Suspecting that something wasn’t quite right in the former British prime minister’s stories compared to what was said by the media and those around him, The Ghost did an investigation of his own which led him to endanger his life. Directed by the controversial Roman Polanski, what I liked most about the film was the director’s ability to take material that we’ve seen before concerning the dangers of politics and inject just the right mood and pacing to create something quietly sinister. I must admit that I did not immediately understand what was going on because it felt as though the protagonist was thrusted onto an island where he had barely any idea what he was doing or why he was really there. He tried to convince himself that he was there for an assignment (with great pay) but his instincts made him question until he couldn’t bear his curiosity any longer. The characters such as the former prime minister’s lead assistant (Kim Cattrall, whom I would love to see more in serious roles), wife (Olivia Williams), and even the housekeeper made me feel uneasy so I could not help but suspect them of hiding something key that might lead to the big revelation. Another interesting layer was the question of whether The Ghost was really on an assignment involving politics, or personal revenge, or possibly both. The questions were difficult to answer and the answers were vague. But I liked the fact that the movie chose to challenge its audience by allowing us to read between the lines. Since the real answers were elusive, we couldn’t help but question whether our protagonist was truly on the right track in terms of solving the mystery or whether he was merely putting together random information and forcing himself to make sense of them. “The Ghost Writer” thrived on subtlety and often reminded me of the underrated “Breach” directed by Billy Ray. Like that film, what kept the film together was not the extended action scenes but the strong acting and constantly evolving atmosphere. Perhaps I am giving the movie too much credit but I did notice some references to noir pictures in the 1940s, the most obvious one being Stanley Kubrick’s “The Killing.” My only minor complaint was I hoped Polanski used Tom Wilkinson a lot more. Wilkinson managed to do so much with how little he was given and it would have been interesting to see how much more he could have turned the main character’s life upside down if he had been given more material.