The Ghost Writer (Roman Polanski, 2010) - What is the dialogue with all the controversy in "Thriller" recently? When did you decide so great directors like Scorsese and Polanski should their films by Kevin Smith Yak-solid model? Usually when you write "Reveal" into a screenplay, is a camera direction, not a general principle of dialogue. Lately I have seen much of this trend. Iceland stopped the first shot, then the trend has been to be in Flame and CitronDenmark (see my review), and is now acclaimed new thriller by Roman Polanski's "The Ghost Writer infected. In all these films are important elements of the plot, which is not revealed during their dramatic and effective build-up, battery characters mouths' with such high specificity that comes to mind (and experienced) people are the same theater scratching their heads and saying, "What?" The wealth of information provided to us with a spoon makes us wonder whether wesecretly slipped something we do not expect, and if the "big reveal" have developed a full hour, it feels like it does not develop at all, and we wonder if we lost. Oh, we did not. No one was awake. It 's a cliche to write a good thriller that keeps you guessing. "These movies keep you answer" - it means they do anti-thriller? Maybe this time I want to clean my palette and satisfy my desire for nostalgia, with the projection of the lessee.
The ghost writerthe unnamed protagonist of Ewan MacGregor, hired for the memoirs published Adam Lang, played a stand-in for Tony Blair, who punched in Cape Cod to escape so that the protesters against the war fever back to him home. The spirit is replaced by another writer, who recently landed on a beach with your lungs full of sea water. Just as Lang and begin his new work colleague, came from fees for the International Criminal Court throws long to help the CIA in carrying out torture in secretFlights from Hatherton perform a stand-in for Halliburton. The long-Team is a full defense and discussed their policy options, which leads to the conclusion that remain in the United States to prevent the International Criminal Court.
As the living, stories of women, Pretty Boy-Lang, Pierce Brosnan has never looked good, and never has been cast better. The casting decisions along the line are brilliant, especially Jim Belushi as a blatant editorial director and composer Kim Cattrall as a long and intimidatingAssistant / lover. There are no Oscar category Best casting, but the casting director Fiona Weir deserves some kind of prize.
Polanski has demonstrated his impressive skills as a director through the monitoring of the frame with a precision that no detail goes without notice. However, the details are very trivial. The film suffers from a lack of motivation and lack of exercise. The mind itself does not care enough about the operations, all he wants is to get his salary, and curl up with a bottleScotch at the end of the day. Decide you do not want to investigate, so Polanski makes his investigation again on a completely frivolous desire to test as well as a Mercedes-Benz-dash navigation system. Then later, ridiculous, discovered the ghost of a vital information from a Google search. Following tells what he "discovered" Robert Rycart, a major political opponent of the Langs, and he looks really surprised. Rycart Apparently not muchTech-savvy.
The problem is not how information is provided to us, but exactly what that information. Once you connect the dots (or rather, they connect the dots for us in slow motion), we are not connected with something solid for our hat on the left. Before revealing the (long, slow), we knew it was shady deals between the British Government and the U.S. government and the previous ghostwriter was probably killed to cover deeper corruption discovered in hisSearch. After the (long, slow) show, we know that shady deals between the British and American governments and that the previous ghostwriter was probably killed to cover deeper corruption, only now we know who they are two of the "bad". The stakes of the lot are quite low.
The Ghost Writer is perhaps mocking the kind of mystery stories from a high point of post-modern view. Since he has no power to expend energy-building, Polanski has ample opportunity to dryironic jokes with a wink and a nod to the public. If there was tension, these measures would cause them to disperse. But it really does not exist, so they really are welcome distractions. MacGregor is a charmer, and carries the film well enough to involve the public when appropriate. This is also the irony, mixed with the literalness of the law makes the film a great "wink and a nod" to the ironic thriller genre? This film is more big game hunting and not the simple effectThriller turn? Maybe (I'll leave you to decide). Polanski is with problems of exile and the effort that you receive in personal charm, which, like those of you who have not lived in a hole in the last 30 + years can attest, the ideas can be a burden on the mind of the director. It could also act as an indictment of Bush and Blair regime and foreign policy, as it was read. Ultimately, however, the political messaging is pretty low. Lang has the right to make aundisputed "Come On Get real" defense of the conduct of the war on terror, and therefore the issue is forgotten as we focus on the interesting question of resolving the fate of our young ghostwriter.
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