Der Ghostwriter

Eine Spielfilm-BMW-Promotion mit dem unverwechselbaren Schnitt von Polański. Tüftelig komponierte dunkle und verregnete Bilder, eine kollektive Schauspielsinfonie. Ein Plot ist für das alles nur eine Notwendigkeit. (11.06.2010)

It is almost admirable how Polanski managed to create a small cinematic treat out of a seemingly dull, shabby and not very exciting premise. Everything from the actors to the pleasantly old-fashioned direction works like a Swiss watch, the tension is not created by flashy moments, strained dialogue or, God forbid, action, but by an omnipresent paranoid atmosphere, the distant setting and the eternally cloudy weather. I'd be lying if I said I wasn't surprised by the final twist (although the film doesn't stand on it) and I applaud Polanski for the ironic slap to the unprepared viewer at the very end. 4,5*. (26.07.2010)

Very well crafted, with a gloomy rainy atmosphere, but pretty much about nothing, unfortunately. Given how relatively (unnecessarily) long it is, it almost lacks a twist or a climax. It has a lot of politically biased commentary, but only one tense scene. I must say that Polanski has quite disappointed me with this film. When it comes to tension, it’s only a weak tea of the genre’s best, though with great execution. Compared to this year’s Shutter Island, The Ghost Writer is the clear loser. (08.07.2010)

It's not really rocket science, as we learn at the end, but Polanski pulls the viewer along very skillfully throughout. The cold and distant atmosphere created by the weepy weather and one architecturally ornate house works. It's not classic "schizophrenia," but McGregor's paranoia grows to unsuspected proportions as the minutes tick by, especially with the equally excellent ensemble cast around him, and I waited for the climax with the eagerness of a small child. The handing of the tickets is one of the most intense scenes of the year. 4 ½. (19.06.2010)

The fifth star is for the ending, which proves that it is not so much the (long-ago clear) twist that matters, but rather its delivery (or in this case, reveal) and build-up. And Polanski should make a horror movie again after all these years, he still knows how to evoke the atmosphere perfectly. (04.08.2010)

Stylish comeback. Inscrutably mysterious plot in an indistinctly attractive environment with an atmosphere of subtle absorption - I expected many things, but definitely not such a self-assured exploration of paranoid moods or political intrigues. That tangible feeling of tightening loops I still can't shake off. (21.08.2010)

After Polanski's arrest in Switzerland, several articles about him and his work naturally appeared, and at that time, among journalists, there was often the opinion that Polanski's crucial films were in the first half of his career and that he was no longer coming close to the quality of his early films today. I get the feeling that it is exactly the opposite. Although Polanski's work is very balanced, if I had to talk about weaker films, I would name, for example, the famous The Fearless Vampire Killers, which today seems desperately worn out to me, while on the contrary, his later films inspire me much more than the familiar classics. I consider The Ghost Writer to be a top-notch political thriller that, in my opinion, even defeats classics like Three Days of the Condor, and it significantly surpasses films like The Parallax View. This film is a precise work that has returned the sound to the classic methods of building tension, which were introduced, for example, by Hitchcock. By the way, Polanski's work seems much more Hitchcockian to me than any of the old master's films because, unlike Polanski, Hitchcock had quite large fluctuations in the quality of his productions and has dozens of mediocre films to his credit. In addition, Hitchcock's work has been noticeably affected by the passage of time in most cases. Polanski not only creates an excellent atmosphere but also relies on an excellent screenplay that, in its simplicity, is unpredictable and leads the viewer along by the nose for a long time. And finally, the acting performances of Ewan McGregor, Pierce Brosnan, and Olivia Williams complete the feeling of a top-notch spectacle. The Ghost Writer does not rely on chases, fights, or high-tech gadgets; its qualities lie in precise dialogues - I consider the clash between McGregor and Tom Wilkinson, with many subtleties and hidden threats, to be a treat - in the interplay of music, camera work, well-chosen pacing, and the screenplay. It's just a shame that new films have a much harder time than old classics, which are aided on one hand by nostalgia but on the other hand don't have to face the criticism and evaluation of viewers who are much more removed from this genre. Overall impression: 95%. (26.02.2012)

I'm not a big fan of political thrillers, but this was just a fine old-school job. A ghostwriter who walks in the shadow of his predecessor, perhaps more than he would like. McGregor’s bored writer’s face leads us through the whole story in a pleasantly unpleasant way, more mysterious than the contents of a British minister's desk drawer. Brosnan wholeheartedly relishes the opportunity to play an arrogant politician, and even the legendary Eli Wallach grins into the camera. Polanski directs with precision and Alexandre Desplat has composed such a full, delightful soundtrack that I will give it the fifth star with peace of mind. - Do you do any sports? - Not really. (23.07.2010)

A well-directed old-school paranoia that more than its engaging plot and unprecedented drive, uses minimalist sets, a gloomy atmosphere and other Polanski filmmaking devices and proprieties to tell a thematically well-supported story, which might make one smile at how the master has it all figured out and in control, but could have been much more entertaining and brisk. (14.01.2017)

Eigentlich habe ich Lust, Der Ghostwriter eine noch bessere Bewertung zu geben. Einen scheinbar so friedlichen, aber gleichzeitig unglaublich dramatischen und spannenden Film habe ich lange nicht mehr gesehen. Außer Brosnan, McGregor und der präzisen Regie vom Meister Polański möchte ich auch die sehr gelungene Musik von Alexandre Desplat, die kleine Rolle von Eli Wallach (wie macht er es nur, dass er immer noch arbeitet?), die sich allmählich steigernde Stimmung und die letzten fünfzehn Minuten hervorheben. Vier und noch ein Stück dazu. (08.09.2010)

The plot is actually about nothing and the story as a whole is not one of the most thought-provoking and formally unique, but Polanski confirms his qualities and delivers another piece of proper filmmaking, which, hand in hand with an excellent acting duo, is an ideal programme for a long winter evening. I actually don’t see any reason to look for flaws when I had a good time with a well made film... (26.02.2012)

If I wanted to be a completely arrogant bitch, I'd throw in something about The Ghost Writer being a completely useless and anachronistic artifact with Tony Gilroy's film on the scene. Its obsolescence stands out precisely in comparison to Michael Clayton, which The Ghost Writer reminded me of a lot through how it was made (and Tom Wilkinson). Polanski tries to move with the times – technology plays a strong role in the film, a major discovery is made through GPS navigation, etc. – but in an age of societies within companies, projects hidden within other projects, corporate mergers, and covert connections between the spheres of state and commerce, The Ghost Writer is simply a step backwards. Not to mention the haphazard logic of crawling in uniform with a gun like a moron to the roof of an airport where one of the world's most watched politicians is about to arrive... sorry. Polanski dominates in the respect he's always mastered. The work with space (I could have easily drawn a detailed floor plan for the mansion where the first half of the film takes place, complete with water and electrical wiring), the pervasive paranoia of the protagonist (the departure of the ferry from which the protagonist has escaped and the visit of a security guard to the hotel room are particularly brilliant scenes), and the exemplary work with actors and mise-en-scene. Fine, except that Polanski really sticks to what he knows and I don't think we'll see anything more from him. PS: Olivia Williams is heavily stylized here à la Tilda Swinton in Michael Clayton (compare the last scene of both characters in those films) and I confess I don't know much about her comic book/video game acting -) (27.10.2011)

An excellent political-psychological thriller with an extraordinarily strong atmosphere, which Mr. Polanski can evoke like no one else. Too much sprawl in the first half drags it short of the maximum for me; on the other hand the gradual (if only relatively gradual) gradation towards an excellent conclusion is handled really well. Moreover, it's remarkable to see that even in today's rushed and ultra-modern times, when monumental projects are being created filled with action and visual effects (the Bourne trilogy, Mission Impossible), a film with a minimum of action and the absence of fast "cool" editing can look equally impressive in the end. Virtually no distinct protagonist, completely civil and realistic characters, in a story whose greatest weapon is unpredictability and a sense of permanent uncertainty. A perfect Pierce Brosnan and Ewan McGregor. (07.11.2010)