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Kristin Scott Thomas,
When a disgraced former college professor has a romance with a mysterious younger woman haunted by her dark twisted past, he is forced to confront a shocking secret about his own life that he has kept secret for 50 years.
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Samuel Lap is a young Amish boy who witnesses a murder in Philadelphia while traveling with his mother Rachel. A good cop named John Book must go with them into hiding when the killers come after them. All three retreat to Amish country and Book has to adjust to the new life style, and his feelings for the boy's mother. Of course the killers are still on their trail. Written by
Greg Bole <email@example.com>
An actual barn was built as a result of the shooting of the barn-raising scene, but it was torn-down shortly afterwards. See more »
Rachel's cap strings when Rachel and John see each other for
the last time. See more »
[Book and Carter are driving around a rough neighborhood looking for a suspect that fits Samuel's description, with Rachel and Samuel in tow]
Where are you taking us?
I'm sorry... we're looking for a suspect in the area, we'd like the kid to take a look at him.
You have no right to keep us here.
Oh, yes I do. Your son's a material witness to a homicide.
You don't understand. We want nothing to do with your laws.
Doesn't surprise me. A lot of people I meet are like that.
[...] See more »
For Tom Scott. Scott was a member of the casting department on Witness. See more »
This is one of those movies whose virtues and subtleties become more and more apparent with subsequent viewings. The crime story is nothing more than a pretense - a "MacGuffin", in Hitchcock's phrase - on which to hang this sensitive and insightful story of the conflict between modernity and the culture of the Amish, which is portrayed here with admiring respect and not a hint of condescension.
Harrison Ford's portrayal of John Book is perhaps his finest work on screen so far. In particular, Book's struggle to suppress his rising attraction for Rachel, and his tormented realization that a relationship between them is not possible, is achingly portrayed. Ford's effort is well-matched by Kelly McGillis, whose beauty here is almost breathtaking. The erotic interplay between them, because it is unconsummated, radiates an almost painful tension, and the easily lampooned "running through the field" scene - because it has been led up to so convincingly - is almost heartbreaking. The character of Eli Lapp, wonderfully played by Jan Rubes, is richly multifaceted. His suspicion of the "English" outsider and his anger at Rachel's attraction to him, is surmounted by an underlying humanity. His parting words to Book, "You be careful out there among them English," are moving testimony to his acceptance of him. His stern yet loving dialogue to his grandson about renouncing hatred and violence is a treasured moment.
Both direction and cinematography are splendid. The simplicity of Amish interiors is shot in a way that makes its austerity almost beautiful, and the barnraising scene is an exercise in cinematic lyricism.
It would be easy to fault the movie for the facile scene in which the punks taunting of Book's newfound friends and protectors drives him over the edge (Eli: "It's not our way, Book" Book: "No, but it's MY way."), but his gift to the young thug of a bloody nose is mighty satisfying to behold.
My one criticism is with the music; certainly not with the venerable Maurice Jarre's score itself, but with its paltry synthesized realization. They should have found the money to spring for a full orchestra.
In short, a highly satisfying, richly themed, and multifacted film which is well worth watching.
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