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May 06, 2024, 09:07:59 PM
 | The Ghost *****
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When a gifted ghostwriter (Ewan McGregor) is hired to write the memoirs of former British Prime Minister Adam Lang (Pierce Brosnan), he quickly finds himself trapped in a web of political and sexual intrigue. Lang is implicated in a scandal over his administration's harsh tactics, and as the ghostwriter digs into the politician's past, he discovers secrets that threaten to jeopardize international relations forever. Co-starring Olivia Williams and Kim Cattrall, it's a taut and shocking thriller from acclaimed director Roman Polanski (The Pianist).
This was a pleasant surprise. I knew I would enjoy it, looking like a political thriller, starring Ewen McGregor as a writer hired to complete an ex-Prime Minister's autobiography (auto-ish) following the mysterious death of the previous ghost, and directed by Roman Polanski, but I underestimated its humour and Film Noir eccentricity. I wasn't expecting to include it in a collection of distinctly British films, but the film is brought to life precisely by it being an English twist on the classic American thrillers. It works as a stone cold thriller, but it has a wink at the audience every time it comes close to being too serious.
McGregor disappointed me at first, as he has abandoned his own Scottish accent for a London one, but I soon warmed to the choice, especially as his delivery hints at Marlowe ironic weariness. Inspired by money more than honour, a hint of a love for alcohol, a touch of casual flirting with both 'Femme Fatales' and we have our classic 40s detective reborn as the ghost writer of the title. In the course of the plot, which largely takes place on an isolated island with strange characters, he will discover evidence of murder, be haunted in a real sense of the word by the victim, visit a mysterious professor, get chased more than once, make deals with shady characters and sleep with inappropriate women, all with an air of not wanting to get involved. Apparently one draft of the screenplay even featured narration! Certainly it resembles little of political thrillers such as All The Presidents Men or even actioners like Patriot Games at the other end of the scale. Instead, it's relationship with the Double Indemnity's of this world make it feel unusually fresh.
The two ladies in the film, Kim Cattrall as Brosnan's assistant and Olivia Williams as his wife and probably the real political power, are both excellent, especially Williams ("for God's sake, if we come across a terrorist, I'll text you!", she yells at a security guard who won't leave her alone) though Cattrall impresses by finding a balance between intelligent, sultry and dizzy as her part demands. And Pierce Brosnan was yet another surprise because he represented my biggest reason to ignore this film and I'm happy to say how absolutely bloody wrong I was.
You see, from the trailer, and still after watching the film, you can't avoid the story's barbed relevance. An ex-Prime Minister fielding accusations of being a war criminal? It seemed so obvious as to be clunky and Brosnan's grinning assured confidence -this is Bond after all- had to be the biggest clunk of all. He's playing Tony Blair, isn't he? But he isn't, because he affects an awkwardness bordering on stupidity that is both very funny and makes him unpredictably dangerous, yet distances him from being an impression. Brosnan balances the character perfectly when he could have phoned in a Bond clone and as such, this is one of his best roles. There is one moment where he disembarks from a plane and at the top of the steps, he pauses, statesman-like, yet he is also clearly briefly confused as to where he might be! Of course, your opinion of Blair might mean I just strengthened the idea this is a sharp satire...
However, the eccentricity of choosing to use a Noir setup, naturally undoes the potential satire and that is very important because the film can exist on its own terms. While being interviewed for the job (by Jim Belushi, no less) McGregor comments that he knows nothing about politics, but that will allow him to understand Brosnan's character all the better. That works for the film too. It's like the film is happy to make Tony Blair sweat, but just as quick to nudge him in the ribs and yell "gotcha!". Thriller first, satire second. Polanski wrote the film with Robert Harris, developing Harris's own novel, which he assures us he had the idea for many years before, wanting to base it around a typically Hitchcockian everyday man trapped in a situation he can't control. Blair's situation and his accusers gave him the final piece to complete it, so it informs the film rather than becomes what it is about. Still, the sequence with the protesters including the grieving father of a solder is treated with enough respect to be substantial.
The irreverence and lightness of touch in the cast is Polanski's doing and it follows through in his direction, accompanied by an unusual score from Alexandre Desplat (Fantastic Mr Fox, and BAFTA winner for The Kings Speech). While meticulous, with stunning details in the setups (even the way he frames characters has a spark other directors miss), the film carries an easy charm. Little things like McGregor's awkwardness as he clambers into a car with a large case, or the way his honesty sometimes gets the better of him consistently grounds the film. The behaviour of the staff, from the relaxed security guards to the poor caretaker trying to fill his barrow with twigs in the wind, is very funny, yet still feels designed for a purpose (the way McGregor trips on a casual guards feet is humourous while demonstrating he is out of his depth and being watched constantly). The manuscript itself almost becomes a Maltese Falcon type object!
Like a proper Noir, the story is serious and exciting and Polanski executes a couple of action beats perfectly. It just never forgets to be fun and the very final moments underline that dual nature beautifully. I enjoyed it immensely and look forward to seeing it again.
(From "Fancy the pictures, me Duck?": The British Film Marathon on February 14th, 2011)
Member's TV Reviews
"Due South" marathon, a review by Tom
3.03 I Could'a Been a Defendant (1997-09-28)
Writer: Paul Haggis (Created By), Jeff King (Writer)
Director: Jimmy Kaufman
Cast: Paul Gross (Constable Benton Fraser), Callum Keith Rennie (Stanley "Ray" Kowalski), Beau Starr (Lt. Harding Welsh), Camilla Scott (Inspector Margaret Thatcher), Tony Craig (Detective Jack Huey), Tom Melissis (Detective Dewey), Catherine Bruhier (Elaine), Gordon Pinsent (Fraser Sr.), Brent Carver (Bruce Spender), Ron White (Kevin Spender), David Gardner (Police Commandant), Ramona Milano (Francesca Vecchio), Satori Shakoor (Reporter), Frank Pavolic (Elliot Wells), Paul Wildbaum (Dustin Mahoney), Jason Jazrawy (Michael Johnson)
A good episode. The dynamics between Fraser and new Ray are similar to season 1 Fraser and old Ray.
Starting with this episode Francesca will get a bigger role. She is taking over for Elaine at the police station.
Rating:
(From "Due South" marathon on December 19th, 2009)