alguien debería dar un curso de economía narrativa cinematográfica y usar esta película como caso de estudio. piénsese, por ejemplo, en:

- la solución para mostrar la muerte del primer ghost writer: un ferry que va vaciándose de todos sus autos salvo de uno; un cuerpo en una playa.
- el adelanto de los graves problemas por venir: adam lang discute por teléfono, tras una ventana, y rompe el celular. la escena es ominosa y atiza nuestra curiosidad porque nos niega mucha información. (y divertida: incluye un chiste que mejora a los simpson y que también intentó, fallidamente, somos lo que hay.)

imagínense qué hubiera hecho un director de los que no se han enseñado a ahorrar –nolan por ejemplo–…

It's the little horrors in life that seem to most unnerve Roman Polanski. A glance into a rearview car mirror that lasts too long, an unclaimed car on a transport ferry, a man's aggressive offering of his gloves and hat are the "frightening" things that fill Polanski's underrated film, "The Ghost Writer".

The journey Polanski takes us on with his films starts with fleeting paranoia. He proceeds to lure us further into the narrative with growing dread and unease until we reach a pivotal point. That point, the point of no return where the little things just became one big terrifying thing, is so brazen and so charged that I say "oh fuck" out loud and cover my face with…

Roman Polanski. The man is still exercising his gift for the sinister. He's a director who's fond of stories in which the central protagonist is buffeted by information that must be dealt with. You've got Nicholson in Chinatown uncovering a web of personal and political scandals, Ford in Frantic finding a world of murder and espionage - and even Depp in The Ninth Gate getting drawn into conspiracy and supernatural overtones. These brief descriptions are, of course, begun by serpentine plotting which lead to fascinating guessing games and a mouth gaping finale. Before the amusing dialogue-driven banter of Carnage came The Ghost Writer, an ambitious mingling of crime and political intrigue. Initially unaware of the term, the film lets us…

This is a good example of how a director can make complete difference in a movie. Not that the screenplay, written by Polansky and Robert Harris, is bad material. It's the opposite of it, creating an interesting plot, fueled with commentaries about the nature of politics and what surrounds it.

But my point is: in the wrong hands, this story simply wouldn't achieve the magnific standard that it accomplishes. Polansky, like no other, manages to create an oppressive and paranoic atmosphere that involves the viewers in an unimaginable way. We're at all time feeling the isolation that the so called 'ghost' experiences, and, as things grows darker and darker, our attention gradually increases.

At the end, it's curious that, accompanied…

This is a good example of how a director can make complete difference in a movie. Not that the screenplay, written by Polansky and Robert Harris, is bad material. It's the opposite of it, creating an interesting plot, fueled with commentaries about the nature of politics and what surrounds it.

But my point is: in the wrong hands, this story simply wouldn't achieve the magnific standard that it accomplishes. Polansky, like no other, manages to create an oppressive and paranoic atmosphere that involves the viewers in an unimaginable way. We're at all time feeling the isolation that the so called 'ghost' experiences, and, as things grows darker and darker, our attention gradually increases.

At the end, it's curious that, accompanied…

alguien debería dar un curso de economía narrativa cinematográfica y usar esta película como caso de estudio. piénsese, por ejemplo, en:

- la solución para mostrar la muerte del primer ghost writer: un ferry que va vaciándose de todos sus autos salvo de uno; un cuerpo en una playa.
- el adelanto de los graves problemas por venir: adam lang discute por teléfono, tras una ventana, y rompe el celular. la escena es ominosa y atiza nuestra curiosidad porque nos niega mucha información. (y divertida: incluye un chiste que mejora a los simpson y que también intentó, fallidamente, somos lo que hay.)

imagínense qué hubiera hecho un director de los que no se han enseñado a ahorrar –nolan por ejemplo–…