A throwback to the days when slow to boil suspense and subtle intrigue were reason enough to screen a film. The film doesn’t require peeking through the fingers, seat belts or sending the kids next door to play. The ‘action’ takes place in your mind. So often these days, we, the viewers are spoon fed everything and the direction one looks to is spelled out thoroughly, lest one be burdened with the aspect of thinking. I’d have to say the last good film of this vibe was ‘Match Point’ (Woody Allen). What it has in common with ‘The Ghost Writer’ besides the fact that both were directed by infamous men (here Roman Polanski) of questionable character, is that they are well done.
The Ghost Writer concerns a writer (Ewan McGregor) hired to complete the memoirs of a former British Prime Minister (Pierce Brosnan) when the original ‘Ghost’ suddenly dies. While researching the PM, he uncovers, stumbles upon and is led to mysterious information regarding his subject. As befits most fine mystery films, that information comes from an array of interesting characters along the way. No disappointments here, as Tom Wilkinson, Robert Pugh, and the great Eli Wallach take turns throwing curve balls.
Kim Cattrall, as the PM’s Chief of Staff communicates more with posture and a sly wink than most blabbermouths making the rounds in Hollywood these days. Olivia Williams is outstanding as his smart but strictly photo op wife. Timothy Hutton, James Belushi and Jon Bernthal spice things up along the way to make this film recommended for one of those rainy days you haven’t a ghost of a chance to accomplish anything for the afternoon.
Showing posts with label Ewan McGregor. Show all posts
Showing posts with label Ewan McGregor. Show all posts
Monday, September 20, 2010
Wednesday, July 1, 2009
Deception
Going into this I had fair warning as to what it was about. The name guarantees as much. That said my interest raised as each chapter unfolded. Knowing how the genre is, working out the inevitable twists and curveballs ensued. That is part of the experience. Yet, this film has something different about it. A subtle expression that grows into an intriguing smile.
Director Marcel Langenegger worked with writer, Mark Bomback, to make the film work for both their tastes and sensibilities. Their collaboration is for the good of the project. He also brought in Dante Spinotti, a fine Director of Photography. He was largely responsible for the look of the Chinatown sequence and it was my favorite sequence of events.
I wanted to see ‘Deception’ on the strength of Hugh Jackman and Ewan McGregor’s involvement with the film. Both are extraordinarily fine actors and I could not imagine either appearing in anything sub-par. They took on assignments that cast them in a different light than most are used to viewing them in.
Mr. Jackman dives into his role with the same gusto he has become famous for. I feel that few actors can match his range. His ‘Wolverine’ is much more than a raging mutant. Jackman squarely lifted the ‘X-Men’ gambit to his shoulders and skyrocketed into mega-franchise orbit. He also has history on Broadway and lit the boards afire in ‘The Boy From Oz’. His turn as 'Van Helsing' the great vampire hunter sees Hugh in the action-adventure region and earning high praise.
Mr. McGregor plays an accountant who goes through his daily paces as one of the army of eternal extras who drift through the scenes of New York’s rich, powerful, and flamboyant theater of the absurd. McGregor’s skill is on display as a timid, almost apologetic excuse of a being that I would have loved to seen introduced ala ‘Twilight Zone’ by Rod Serling. His character certainly passes through it.
What gives ‘Deception’ its edge is an outstanding performance by Michelle Williams. Her interaction with both stars is intense, but in particular, with McGregor she is magical. Ms. Williams says more with a glance than words could express. Each scene finds her generously sprinkling talent in all directions. Oh, she does indeed speak, and I savored every word.
A quick nod to Charlotte Rampling who I might well have wrote the above paragraph for had she been given more screen time. She makes ample use of what time she does receive. Ms. Rampling has a rather brutal, but matter-of-fact way of taking over a scene. Her dominance is simply never in question.
The sliding scale for a psychological thriller begins with ‘Hitchcock brilliant’ and works its way down from there. ‘Deception’ is definitely north of its genres norm, and a solid companion on one of those nights when the phone is not ringing.
Director Marcel Langenegger worked with writer, Mark Bomback, to make the film work for both their tastes and sensibilities. Their collaboration is for the good of the project. He also brought in Dante Spinotti, a fine Director of Photography. He was largely responsible for the look of the Chinatown sequence and it was my favorite sequence of events.
I wanted to see ‘Deception’ on the strength of Hugh Jackman and Ewan McGregor’s involvement with the film. Both are extraordinarily fine actors and I could not imagine either appearing in anything sub-par. They took on assignments that cast them in a different light than most are used to viewing them in.
Mr. Jackman dives into his role with the same gusto he has become famous for. I feel that few actors can match his range. His ‘Wolverine’ is much more than a raging mutant. Jackman squarely lifted the ‘X-Men’ gambit to his shoulders and skyrocketed into mega-franchise orbit. He also has history on Broadway and lit the boards afire in ‘The Boy From Oz’. His turn as 'Van Helsing' the great vampire hunter sees Hugh in the action-adventure region and earning high praise.
Mr. McGregor plays an accountant who goes through his daily paces as one of the army of eternal extras who drift through the scenes of New York’s rich, powerful, and flamboyant theater of the absurd. McGregor’s skill is on display as a timid, almost apologetic excuse of a being that I would have loved to seen introduced ala ‘Twilight Zone’ by Rod Serling. His character certainly passes through it.
What gives ‘Deception’ its edge is an outstanding performance by Michelle Williams. Her interaction with both stars is intense, but in particular, with McGregor she is magical. Ms. Williams says more with a glance than words could express. Each scene finds her generously sprinkling talent in all directions. Oh, she does indeed speak, and I savored every word.
A quick nod to Charlotte Rampling who I might well have wrote the above paragraph for had she been given more screen time. She makes ample use of what time she does receive. Ms. Rampling has a rather brutal, but matter-of-fact way of taking over a scene. Her dominance is simply never in question.
The sliding scale for a psychological thriller begins with ‘Hitchcock brilliant’ and works its way down from there. ‘Deception’ is definitely north of its genres norm, and a solid companion on one of those nights when the phone is not ringing.
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