“The Ghost Writer” is a masterpiece of political suspense linked to real people, directed by Roman Polanski.

Horror production that is intentionally not used

What is brilliant about Polanski's work is that he shows only the dark, murky city, sea and sky, without any sunlight shining through the film. In particular, the darkness after the scene switches to Massachusetts is incomparable. The buoys floating at an angle as if resisting the rough winter sea, the endless gray sandy beach surrounding Lang's elegant mansion, the desaturated green grass growing here and there, the main character's bicycle tour around the island, his hazy figure being tossed by a torrential rain, etc. The rain makes the already dark scenery even more oppressive.

There's also a surreal moment in the film when an old man (Eli Wallach) comes out of an old shack, his wrinkled face dripping with water, and explains that the local ocean currents make it highly unlikely that Makara's body would have been carried from the ferry to the beach where it was found, and that someone saw flashlights flickering near the beach on the night the body was found.

"The Ghost Writer" (c)Photofest / Getty Images

In contrast to the heavy, murky scenery, the thrill and excitement of the protagonist gradually unraveling the suspicions surrounding Lang while writing his autobiography stimulates the audience's brain throughout the film. This is also Polanski magic. In particular, the few minutes it takes for the protagonist, who has obtained a clue about Lang's past from McCullough's belongings, to follow the route left on the BMW's navigation system and arrive at the home of the mysterious Professor Emmett (Tom Wilkinson), are enough to give you goosebumps.

However, it seems that it is not realistic that the data on the car navigation system would remain without being erased and the same guidance would be played back, but even if it is impossible, this idea is fresh and interesting in terms of cinematic effect. Also, the scene where the main character is relentlessly pursued by a mysterious car and barely escapes from the ferry he boarded is the only action scene in the movie.

As with his Hollywood debut, Rosemary's Baby (1968), Polanski does not use any of the exaggerated horror that is common in suspense films. Here too, he skillfully uses location effects to depict the protagonist's quiet shift from everyday life to something extraordinary.

Where will the nameless man end up?