The Ghost Writer (2010)

Because much of THE GHOST WRITER takes place in the ocean-front beach house on Martha’s Vineyard where a politically-doomed British Prime Minister is hiding out, it’s not hard to notice that the film is directed by a man who is, essentially, on a self-imposed sort of house arrest. The latest film from Roman Polanksi, THE GHOST WRITER was filmed and released in the time surrounding the renewed dust-up over Polanski’s sexual abuse charges from more than 30 years ago. As the famous story goes, if you want to work with one of the great international directors of all time, you have to go to him. Because he’s not coming here! Consequently, the majority of the film is shot in two indoor locations and one rather rural and barren outdoor one.

The good news is that the limits Polanski’s travel restrictions put on the visuals in his recent works only enhance the claustrophobia of what is a return to form of sorts for a master of the modern thriller. Like Polanski, the fictional prime minister Adam Lang (presumably Tony Blair) is a trapped man. This message is reinforced by scenes shot in Lang’s office where he is going over drafts of his soon-to-be-published memoir. Behind his desk is a floor-to-ceiling clear glass panel. This oversized window figuratively and literally separates Lang from the world and the lovely ocean view so closely located on the other side of the glass that it appears to be a part of the room.

Also like Polanski, Lang’s virtual imprisonment in the warehouse-style house is self-imposed. Lang and his handlers have just learned that he is being accused of a war crime. The accusation is that he authorized the illegal seizure of some suspected terrorists and then turned them over to the CIA where they were tortured. If Lang steps foot on soil that participates in the doctrines of the International Criminal Court, he will be prosecuted. See another parallel with Polanski’s life? Okay, I’ll stop.

The title of the film refers to a cleverly unnamed ghost writer played in a fantastic performance by the always-good Ewan McGregor. The ghost writer has been brought in to tweak Lang’s memoir draft into something readable and sellable, after Lang’s last collaborator was mysteriously found dead. The ghost writer takes the job, of course, before the criminal accusations are brought against Lang, and quickly discovers he’s in over his head. Sure enough, his work on Lang’s manuscript includes research and discoveries that lead him to believe that his predecessor uncovered some secrets that were meant to stay hidden.

I know that THE GHOST WRITER got good reviews when it came out, but I’m wondering why I didn’t hear that much about it, because it is a fantastic thriller and a shining example of Polanski’s narratively-jittery craft. Maybe it was overshadowed by the Polanski’s sex scandal coming back into the news. Or maybe viewers mistakenly dismissed the film as a slight work because of its quietness and downsized scope.

Whatever the reason, and with the understanding that I have miles to go before I can say that I’ve seen a majority of this year’s quality films, THE GHOST WRITER is one of the truly excellent films of the year. Those who are familiar with the modern political parallels interwoven into the story will certainly appreciate the film on another level, as will those who search for comparisons between the embattled politician and the film’s director. But I can assure you: knowledge of these things is not required to enjoy the film.

As mentioned earlier, McGregor is fantastic in the film as the ghost writer, though I got a chuckle that he manages to fit a nude scene in to this film, too, even with its PG-13 rating. Does McGregor have it written into his contract that he has to strip for everything? Seems like it.

McGregor is flanked by a solid Pierce Brosnan as Lang and engaging work by Olivia Williams as Lang’s wife, Ruth. With cameos from the likes of Eli Wallach and Timothy Hutton, the film also contains the oddities of a nearly unrecognizable James Belushi (with a shaved head) and “Sex and the City”’s Kim Cattrall as Lang’s personal assistant, complete with a truly terrible attempt at a British accent. Thankfully, this is a minor bump in the road to an otherwise excellent film.

THE GHOST WRITER is compact and taut and worthy of an audience. And it’s proof that regardless of Polanski’s personal choices, he’s still got plenty of game professionally.

3.5 out of 4