THE GHOST (THE GHOST WRITER)

UK/France, 2010, 128 minutes, Colour.
Ewan Mc Gregor, Pierce Brosnan, Olivia Williams, Kim Cattrall, Timothy Hutton, James Belushi, Tom Wilkinson, Eli Wallach, Robert Pugh.
Directed by Roman Polanski.

Robert Harris is a best-selling writer whose conspiracy books include Fatherland and Archangel. He has collaborated here with Roman Polanski in adapting his novel, Ghost, for the screen and has said that in refining, cutting and selecting for the screenplay, the film has some better features than the book. Whether that is true or not, The Ghost is an absorbing contemporary thriller with fascinating political suggestions and implications.

First of all, it is not about Tony Blair. Well, not quite. Harris has said that he had the basic idea before Labour came to power in the UK in 1997. But, with comments about Tony Blair and war crimes in the aftermath of the invasion of Iraq, Harris had found a situation to build his novel on. In fact, the screenplay becomes quite explicit at times about the repercussions of the invasion of Iraq for the British and the Americans and the role of the CIA.

Harris has also expressed an admiration for the films of Alfred Hitchcock with their ordinary and central character sometimes caught up in a world of intrigue and international espionage. This film can be described as in the vein of Hitchcock suspense. Roman Polanski showed himself a director in this genre with his 1988 Frantic.

Opening with the seemingly accidental death of the ghost writer of the former British Prime Minister's memoirs, the film quickly introduces Ewan McGregor? as the writer being courted to revise and rewrite the memoirs. Ewan Mc Gregor has proven himself quite an engaging screen presence in both serious and comic films and is able to take the weight of the film, appearing in every sequence.

Needless to say, there are complications, twists and some sinister chases and a writer, not used to being in this kind of danger, having to show bits of action and heroism that surprise him.

Pierce Brosnan has proven that he has an acting life after James Bond (well, not a sining one after Mamma Mia) and is very good as the irascible and genial former prime minister. Kim Cattral has a more serious role than usual as his minder and Olivia Williams relishes her role as the wife, a hard woman, strong, with a touch of jealousy but a power behind the throne.

The film is also enhanced by a number of important and effective cameos: Tom Wilkinson as a professor, Timothy Hutton as the official attorney, James Belushi as the head of the publishing company, Robert Pugh as the former Foreign Secretary and a welcome appearance by 93 year old Eli Wallach.

As the ghost writer uncovers more and more information, more possibilities for conspiracy theories arise until a good dramatic ending which we may or may not have been anticipating but which makes some sense (sinister sense) of what has been going on.

1. The popularity of Robert Harris’s novels, transition to the screen, the adaptation for this film? The work of Roman Polanski?

2. 21st century politics, in the United Kingdom, the United States, the Middle East? Policies, the CIA and its agents? The pressure from the United States?

3. The American settings, Massachusetts and Kennedy territory, Martha’s Vineyard and the island, the coast, homes, hotels, mansions? The musical score?

4. The credibility of the plot? The revelations about the CIA (and comparisons with attitudes towards KGB infiltrators)? The British prime minister, policies, the influence by the CIA agents? Political reactions and denunciations? Human rights issues? War crimes? The courts? The possibility of the arrest of the ex-prime minister, staying in America, immunity?

5. The relationship of the plot to Tony Blair and his career? Similarities and differences, Iraq and Afghanistan? War crimes accusations?

6. The opening, the ferry, the cars leaving and the car stranded, the body washing on shore? The repetition of the car episode with the Ghost? The Ghost and the information about the tides, the old man, the woman in coma? Suspicions?

7. The meeting about the Ghost writing, the publisher and his tough demands, the editor and his supercilious attitude towards the Ghost, the agent and his wanting a good deal, the lawyer and his opinions? Persuading the Ghost to write, the discussions, the agreement? The large amount of money, the happiness of the agent? The Ghost and his being wary?

8. The Ghost and his character, age, experience, attitudes, skills?

9. Going to the island? Being met by Amelia, her brusque manner, the introduction to the house, his room, the office, the security for the manuscript? Ruth and her haughtiness? The other members of the staff, the Asian woman and her offhand manner with the meals? His going to the hotel, settling in? His later return to the hotel – and the interchange with the angry man who swore at him?

10. Adam Lang and Pierce Brosnan and his style? Resemblances to and differences from Tony Blair? His reputation for his time as prime minister? His being a moody man, his demands, the isolated world and not having any money, not being able to drive? The discussions with the Ghost, the ups and downs of their relationship, his exercising, his minders, the security guards? His relationship with Ruth, the tension? The past, her influence? The influence of Amelia and a relationship or not?

11. The Ghost and his work, editing the manuscript, trying to copy the manuscript and the security coming down, his evading detection? The stories? The story about Ruth, the inconsistency with the dates of Lang joining the Labour Party? His questions? Throwing out the clothes of the previous writer, finding the photos, the phone number? His puzzle, suspicions? The Foreign Secretary’s phone number and his calling?

12. Ruth as a character, interacting with people, talking with the Ghost, going to walk with him, the sexual encounter, rescuing him and his bike? The advice on the television revelations, not wanting her husband to go to Washington? Her staying behind?

13. The Ghost and his bike-riding, the encounter with the old man and his information? Going back to the hotel? The phone call to Rycart? Going to Paul Emmett, being allowed in, the discussions, seemingly innocuous? Emmett’s reaction? Going back to the ferry, trying to elude the car that was following him, getting off the ferry? Ringing Rycart again, Rycart coming to him, the discussions after the security check? The advice to return to the island, the prime minister arriving, his being shot?

14. Amelia, as a minder, businesslike, the personal relationship with the prime minister?

15. Television and revelations, the Foreign Secretary and his denunciation, not being personal? The Hague, the courts, warrants? The visuals of the protesters? The group watching the television, the Ghost and his writing the expert press release? Lang going to Washington, the dinners, the arrangements, the cover-ups, the interviews? On television and Ruth criticising him for grinning?

16. The prime minister’s death, the tributes?

17. The return to London, the Ghost finishing the book? His being the plus-one with Amelia for the launch, his not being invited? Seeing Emmett and Ruth, his suspicions? Giving the manuscript to Amelia as a souvenir, looking at it again, the code, the information about the beginnings? The discovery of the truth and the code about Ruth and her being a CIA agent?

18. The audience rethinking their perceptions of Lang, their perceptions of Ruth?

19. The Ghost going out into the street, his future? The crash off-screen, his death, the pages fluttering along the London street? The touch of cynicism and pessimism?