The Ghost Writer (2010)

When we hear Roman Polanski’s name these days, we’re just as likely to think about his off-screen troubles rather than his gifts as an extraordinary filmmaker. He’s recently been in the news for the Los Angeles district attorney’s attempts to extradite him from Switzerland, where Polanski has been under house arrest in his Swiss chalet for a statutory rape charge dating back to the late 1970s. The filmmaker behind classics like Rosemary’s Baby and Chinatown and thrillers like Frantic and The Ninth Gate has a vision that seems to have been lost amidst the disarray of his life. That’s unfortunate, especially when he’s making great films like his most recent offering, The Ghost Writer, an intensely charged political thriller starring Ewan McGregor and Pierce Brosnan.

In the film, McGregor plays The Ghost (his real name is never once mentioned in the entire film), a writer in need of a paying gig. He lands one covering the autobiography of a controversial former British prime minister, Adam Lang, played to perfection by Pierce Brosnan in what is perhaps his best role ever. The Ghost is indoctrinated into Lang’s camp by his loyal aid, Amelia (Kim Cattrall, who stumbles with her English accent here and there), and Lang’s seething wife, Ruth (the glorious Olivia Williams). But the more The Ghost digs into Lang’s past, certain eyebrow-raising inaccuracies begin to surface. Questions also loom about the mysterious circumstances surrounding the death of the original writer hired for the project.

The Ghost Writer is a fascinating film from beginning to end. Just like in previous films, Polanski has an uncanny gift for making the audience feel like they’re right beside the protagonist for the entire journey. You feel less like a viewer and more like a voyeur. Due to Polanski’s mastery of this device, we don’t ask questions about The Ghost. There’s an immediate investment in him as our guide through the narrative. In other films, it might bother us that we knew so little about The Ghost (including his real name), but here it’s not even a question. Polanski creates characters that fulfill their roles, yet don’t overstay their welcome.

The story’s pacing is excellent. We don’t waste time with meaningless exposition. The film begins with The Ghost and his agent talking about the possibility of him penning the Adam Lang book and doesn’t look back. Also, the narrative isn’t convoluted by subplots. It’s a straightforward film that never drags its feet and doesn’t take water breaks.

The performances are outstanding. Yes, Cattrall seems to have difficulty with her accent, but her overall performance remains better than average. The nature of her relationship with Lang is never clearly stated, but it’s still made obvious from the emotional tightrope she walks, particularly near the end. Olivia Williams is fantastic as Lang’s bitter, but loving, wife. Even at her most vulnerable, she still has ice water in her veins. These are highly complex characters, but the stellar performances allow them to say so much without speaking. Ewan McGregor is perfect as The Ghost. His narcissism and cleverness laced with witty charm makes for the perfect Polanski protagonist. It’s the same quality that made Jake Gittes and Dean Corso so memorable.

To put it as simply as possible: The Ghost Writer is a classic. It’s vintage Polanski at the height of his powers as a filmmaker. The performances, plot and delivery are dealt by the steady hand of a master, and hopefully he won’t be slowed by legal woes or abandoned by future generations of viewers. No matter what you think of him personally, he’s one of the greatest filmmakers alive today, and his work should still be seen and appreciated for years to come.

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