An eccentric and dogmatic inventor sells his house and takes his family to Central America to build a utopia in the middle of the jungle. Conflicts with his family, a local preacher and ... See full summary »
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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>
Sylvester Stallone was an early choice for the role of John Book. When he turned down the role, he said it was one of the worst decisions of his career. See more »
At the time this movie was made, Amish carriages were not required to have reflectors. Since then, an agreement between the Pennsylvania Department of Transportation and the Amish community has required the reflectors to be present. 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 »
'Witness' is about a guy who is a total product of the big city - he's a tough cop, he relies on cars, phones, and guns - who hides at an Amish farm to prevent a boy (the witness) and himself from being found by the killers.
The film is less about Harrison Ford learning to live among the Amish as it is the Amish learning to live with Ford. He is a man who at first glance has no matching ideals. The film is fantastic on that level, especially thanks to Peter Weir's direction, who brilliantly shows Ford gradually becoming accepted by the Amish men.
There is very little dialogue among the characters, and Rachel (McGillis) talks even less, not because she doesn't have anything to say, but because Amish rules of life don't seem to allow her to. They are presented as a quiet people, so McGillis has the difficult task of making Rachel speak without dialogue, and she does it well, which carries over to Ford (he got an Oscar nomination, she didn't).
It's only at the climax of the film, when the action takes over that the film begins to weaken. The filmmakers seem to have some kind of answer to how the killer's storyline should be resolved, but it's not very good.
Despite the flaw, the film is excellent based on the performances of the cast, the editor who had to put all the dialogue-less scenes together (and later, won the Oscar for it), and Weir's masterful handling of the story.
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