In a recent scene from HBO’s The Sympathizer, a communist spy whom we only know as the Captain (played by Hoa Xuande) sits outside a Los Angeles car-repair station, staking out the man he’s planning to kill. His target is a former senior military officer, Major Oanh, who fled with him from Vietnam to the U.S., and who is starting over as a mechanic. When the Captain learns that Oanh is importing expired Vietnamese candy as a side hustle, he confronts him. To his shock, the man embraces him. “It’s a new world here,” Oanh tells the Captain. “If you fully commit to this land, you become fully American. But if you don’t, you’re just a wandering ghost living between two worlds forever.”
Adapted from Viet Thanh Nguyen’s 2015 Pulitzer Prize–winning novel, The Sympathizer follows a protagonist who seems perennially trapped in this between. The Captain is a North Vietnamese secret-police agent embedded high up in the Southern Vietnamese military. As a biracial, half-French man, the Captain is at once strikingly visible in public and yet socially invisible; he’s been, as he says early in the first episode, “cursed to see every issue from both sides.” But what vexes him even more is the realization that he uses his identity as an excuse to avoid taking firm moral stances. By circumstance and by choice, he moves through society as a specter.
Although The Sympathizer isn’t a literal ghost story, this is a compelling prism to view the adaptation through. The series, created by Park Chan-wook and Don McKellar, introduces the Captain after he’s been captured by the North Vietnamese army (which he’s spying for), sent to a reeducation camp, and stuck in a room to write his confession. He begins by writing words we hear in a voice-over: “I am a spy, a sleeper, a spook, a man of two faces,” a nod to the opening of Ralph Ellison’s 1952 novel, Invisible Man, whose similarly unnamed narrator unpacks feeling adrift and anonymous “because people refuse to see me.” In The Sympathizer, the word spook takes on a dual meaning, describing a spy—a job that hinges on being imperceptible—and also a disembodied presence that’s neither dead nor alive.
The Captain narrates his imperfectly detailed memories, which span decades and move between Vietnam and the U.S. He jumps back and forth through time, revealing a man caught as much between physical and psychic worlds as between loyalties. The two people he cares most about in the world—his best friends and “blood brothers” Man and Bon—were on different sides of the war: the former was a higher-up in North Vietnamese leadership, the latter was a South Vietnamese paratrooper and assassin.
[Read: Viet Thanh Nguyen on why writing is a process of “emotional osmosis”]
But unlike in many traditional ghost stories, the Captain isn’t an omniscient figure narrating from the afterlife. He is wrestling with competing political and cultural ideologies and with Vietnam’s legacy of colonialism and war. He is a frequent subject of derision as a mixed-race man: In one scene in Vietnam, the Captain explains that he’s long endured acquaintances and others “spitting on me and calling me bastard,” dryly adding that “sometimes, for variety, they call me bastard before they spit.” Even those who the Captain believes respect him see his humanity as conditional. In the novel, his longtime boss—known only as the General—fires him for flirting with his daughter: “How could you ever believe we would allow [her] to be with someone of your kind?” the General asks.
This sense of alienation is exacerbated in the U.S., where the Captain embeds within the exiled South Vietnamese community. There, he and his fellow countrymen are, as he describes in the novel, “consumed by the metastasizing cancer called assimilation and susceptible to the hypochondria of exile.” At one point in the show, a fellow émigré and journalist named Sonny (Alan Trong) tells him, “Arguably, I’m more Vietnamese than you … biologically”—and yet the Captain is regarded as being too Vietnamese by many of those he meets in the U.S. In an especially atrocious scene after the Captain’s arrival in Los Angeles, a former professor he connects with (Robert Downey Jr.) gives him the dehumanizing assignment of writing down his “Oriental and Occidental qualities” side by side. Afterward, the professor pressures the Captain to read the list aloud to university donors at a cocktail party.
[Read: The Vietnam War, as seen by the victors]
Not even the Captain’s Marxist proclivities can anchor him after he moves to America, a bastion of capitalism that he’s been taught to hate but secretly enjoys. Though he technically identifies as a Communist, in the series he doesn’t come off as an active, passionate believer. He also becomes involved in American pop culture, when he’s asked to be a cultural consultant on an Apocalypse Now–esque film. Yet the Captain is frustratingly static in these Hollywood scenes. He’s unconvincing when he implores a movie director named Niko Damianos (also played by Downey Jr.) to hire Vietnamese actors in speaking roles. Even the way he pushes back against the inclusion of an unnecessarily violent scene feels tepid; when the director fires him, the Captain walks away in indifferent silence.
In interviews, Nguyen has said that hauntings are inextricable from stories about war and the trauma it leaves behind. He has also noted that Vietnamese culture is full of ghost stories, whose spirits bear both malicious and benevolent intent. The visual language of The Sympathizer takes care to point out that those hovering in the afterlife stay close to the living. Shrines to the deceased, many adorned with fruits, incense, and vases full of flowers, pervade the show’s world, including in the Captain’s home and in the General’s office. Later in the series, literal ghosts also take shape: Major Oanh and another person the Captain murders constantly reappear to taunt him and offer unsolicited opinions.
As the series progresses, the Captain becomes more and more numb, stymied by the realization that neither communism nor capitalism—nor either of the two countries, or racial identities, or best friends he’s torn between—will make him whole. The Sympathizer drives home the salient point that social invisibility has a way of hollowing someone until they’re unrecognizable, even to themselves. It gestures toward a haunting truth: To stand for everything is akin to standing for nothing.
