The simple task of assisting a former British Prime Minister in his memoirs puts a ghostwriter’s safety at risk, after he uncovers some damaging secrets about the political relationship between the United Kingdom and United States.
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A master on cruise control. Effortless storytelling with Polanski's trademark visual imprint (mood, atmosphere). GHOST WRITER is the kind of film Hitchcock made (over and over again). But somewhere down the line, this type of thriller became "cliched". Polanski and co-writer Robert Harris rejig the formula with political intrigue plus a poetic, cynical ending. Desplat's score is propulsive, tense and just beautiful.
A sort-of remake of his own The Ninth Gate, with the supernatural being replaced by the vaguely political. Usual concerns reoccur, from the well-meaning protagonist manipulated into embracing his own downfall, to shadowy conspiracies, murder and intrigue, and a final shot that plays more like a perverse joke than any kind of conventional closure. The beach-scenes invoke the tragic spirits of Cul-de-sac and Macbeth.
A study in blue. Efficient and generally engrossing thriller, classically structured and typical of Polanski's detached eye. The use of space and framing is especially effective, although rarely anything other than in grey-blue filters. If only more commercial cinema was this economical and stylishly spare.
A well-directed, intelligent political thriller with witty subtext and a memorable sense of atmosphere. Though carrying Polanski's usual undercurrents of misogyny and anti-americanism, it is a strong and thoughtful work--definitely deserving a viewing.
In the tradition of Frantic and The Ninth Gate, Polanski is always at his best throwing the leads into situations they did not bargain for, surrounded by peculiar characters with their own agendas. Great storytelling, the setting of the mood and atmosphere are impeccable. Even the beach seems foreboding. And Ewan McGregor carries the film practically on his own, no effort at all. Great acting on his part.
I never that into Polanski, so i could never use the "Polanski return to form" phrase. But good God. How surprised i am with how delicate "The Ghost Writer" turns out to be. This is actually among the best political thriller i've seen in recent years. And Alexandre Desplat's score, well, it's magnificent, as usual