The Ghost Writer

In "The Ghost Writer," Ewan McGregor's character, simply credited as the Ghost, is reassured by someone that he cannot be killed like his predecessor was, because ghostwriters are not cats. This is little comfort to the Ghost, for he is well-aware that he (like many characters in Roman Polanski's films), is someone in conditions that do not favor him, and against characters that are not ones to advance his well-being.

The Ghost is a writer, ignorant of current events but hungry for a good job, who has been hired to be the ghostwriter for Adam Lang, a former British prime minister and one of considerable controversy. Lang, played by Pierce Brosnan, resigned from his office after allegations spread that he illegally handed over British citizens accused of being terrorists to the CIA; the CIA tortured them and thus made Lang guilty of a war crime. The situation is made remarkably worse when the Ghost learns that Lang's former aide and the original ghostwriter was found dead in the waters next to Lang's compound.

Brosnan seems to be deeply concerned, as were some of his predecessors, as being typecast as James Bond. Brosnan was humorous in "The Matador," sang in "Mamma Mia!" and now is a nasty politician in Polanski's film. His performance is the most interesting to watch, though his scenes are few, but McGregor does his usual effective job in the leading role. McGregor's character is a typical one lost in situations beyond his control, as is often the case with Polanski's characters.

Oliver Wendal Holmes famously (and supposedly) said of Franklin Roosevelt that the president had a first-class temperament but a second-class intellect; Lang probably has neither. He is clearly influenced by others, drawing significant parallels to the Blair-Bush relationship. The allegories are not lightly-hinted--the America Secretary of State in the film looks remarkably similar to Condoleeza Rice. Additionally, he is half the talent of the Ghost, and it brings to mind other famous ghostwriters, as varied as Wolfgang Mozart and (speaking of Bond) John Barry, who has claimed he is the original composer of the famous Bond theme and not Monty Norman, who is credited with writing the score. (Incidentally, this is not a major theme of the film, but simply an observation.)

One disappointing aspect of the film is that it relies on the tired use of an ambitious, Lady Macbeth wife pulling too many strings, though the character is very enjoyable to watch Olivia Williams play her. And while this film may be a thriller, it's not always thrilling. The first and third half are fine evidence of thriller-making at its best, and while Polanski should be rewarded for not falling into cliches, he certainly does seem to lose a bit of bearing as it becomes dull and disorganized. Still, in an age of 3-D, CGI hyperbole, and the overuse of intensity, it is nice to see Polanski remind filmmakers how to make a good movie.