WITNESS (1985)

Following up starring in a string of big budget genre epics (Raiders of the Lost Ark, Blade Runner, Empire Strikes Back, Return of the Jedi) in the early part of the '80's, Harrison Ford decided to detour just a bit with this smaller-scale suspense thriller directed by the legendary Peter Weir (Dead Poet's Society, The Truman Show).  Here he plays John Book, a Philadelphia police detective investigating a local murder where the ONLY witness is a young Amish boy (Lucas Haas) who happened to be travelling through the area with his mother at the time.  As it turns out, this murder investigation goes up the chain of the local police department and after an attempt is made on Book's life, he flees to the nearby Amish Country where the young boy lives with his mother Rachel (Kelly McGillis).  There as they help nurse John back to health, he not only becomes involved with the local Amish community but develops a forbidden romance with Rachel.  And what results is one of the best thrillers of the decade as it also was eventually nominated for eight Oscars including Best Picture, Best Director, and what has remained the ONLY Oscar nomination for Ford, Best Actor.   

Host & Editor: Geoff Gershon
Producer: Marlene Gershon

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Transcript

WITNESS - 1985

Directed by Peter Weir

Starring Harrison Ford, Kelly McGillis, Josef Sommer, Lukas Haas, Jan Rubes, Alexander Gudonov, Danny Glover, Brent Jennings, Patti LuPone, Angus MacInnes, Frederick Rolf, and Viggo Mortensen

Genre: Romantic Thriller (Audio clip)

Peter Weir's career as a director is one of those rare Hollywood success stories of a genuinely talented filmmaker finding commercial success in spite of his idiosyncratic tendencies. Pretty much most of his films have been very deliberately paced and they usually have unhappy endings. I would gather that his one commercial instinct has been collaborating with stars at JUST the right moments in their careers when they were looking to branch out from their comfort zones: Robin Williams, Jim Carrey, Russell Crowe, and of course one Harrison Ford. 

Ford was riding a streak of BIG films loaded with special effects (Star Wsrs, Indiana Jones, Blade Runner) for about five years before taking on this relatively low budget thriller/romantic drama which mostly takes place in Amish country - he plays John Book, an honest Philadelphia cop investigating the murder of a cop...apparently perpetrated by other cops no less. There's one witness to the murder who he's trying to protect....a young Amish boy Samuel played by the winning young Lucas Haas who was out traveling through Philly with his mother Rachel adeptly played by the non-Amish Kelly McGillis. Book gets shot and ends up on the run to protect both mother and son, ending up off the grid at their Amish home in nearby Lancaster, PA. As Book recovers and integrates with those around him in Amish Country, he tries to figure out his next move....of course, what he wasn't prepared for was falling in love. 🤫

Needless to say, a romance slowly develops between Book and Rachel...to the dismay of everyone around them within their Amish community especially Rachel's protective father Eli, played by the late Jan Rubes in what might this film's most unique performance as he delicately tries to sway his daughter from taking this further and being "shunned" by the community. His scenes with McGillis would be cliched in the wrong hands but both actors make this disagreement feel real and you can see things from both their sides. And of course, Ford and McGillis have genuine chemistry together - the affection they build for each other feels organic and there are a few scenes in the second half where they consider acting on their attraction....and let's just say the heat is palpable! 

This film was nominated for several Oscars and deservedly so...it's still Ford's only nomination and serves not as a reminder that away from the pyrotechnics, he could be a hell of an actor but there were few better suited directors to help him pull that off than Weir.

Best Needledrop (best song cue or score used throughout runtime of film): 

The score for this film is truly strange one in that it is very synth-based even while mostly portraying events within such a Luddite setting…..in fact if you’re listening to it independent of the film, it’s honestly not THAT memorable.  But regardless it works very well in the context of the movie, adding a very dreamlike, often even romantic vibe.  And it comes us to from a true legend, Lyon Frances’s OWN master composer….the three-time Oscar winner who delivered ICONIC scores for this Lawrence of Arabia, Doctor Zhivago, Ghost, Fatal Attraction, The Man Who Would Be King….I’m referring to the late, great Maurice Jarre. (Audio clip) 

And like I said….as synthetic as the music often sounds independently, it genuinely works in the context of this movie, the fish-out-of-water thriller which kicks it off and of course the forbidden romance which it also becomes.  It never works better than a truly emotionally charged moment which KIND of kicks off the third act before the movie becomes a proper thriller again…..Rachel looks outside her kitchen window and sees John working on a bird house with her father.  When her father enters, he informs her that John will be leaving the following morning….it’s disappointing, kind of heartbreaking, but Rachel knows what she needs to do.  As the music builds, she stares out at John, put her son to bed, and then takes off her bonnet…..she walks outside urgently right towards John…..and the music sort of swells, they embrace and kiss passionately…..with nothing but this music heard.  I know….it sounds very cliched on paper but it’s a dazzling moment and the track from Jarre’s score which accompanies it is fittingly called, “Rachel and Book – The Beginning of the End.” (Audio clip) 

Wasted Talent (most under-utilized talent involved with film):

Even though this is very much a two-hander with Ford and McGillis, it still even serves as a showcase for the other actors especially the late , great Alexander Godunov - man what a presence he had delivering in seemingly thankless roles like this or Carl from Die Hard! In this movie, his Daniel pines for Rachel and you can see how he just doesn't stand a chance in this instance vs. the world's biggest movie star at the time but it's fun to watch him valiantly try.  He impressive career as a performer began as a ballet dancer in the Soviet Union – where he danced alongside friend Mikhail Barhyshinikov - before eventually starting a brief but memorable acting career in Hollywood which started with THIS movie.  It’s funny he only did about six or seven major films including this but I remember him VIVIDLY in at least half of them including this, Die Hard, and The Money Pit.  Sadly he passed away just ten years after this film at the young age of 45 for no reason listed beyond “natural causes”…..yeah RIP Alexander Godunov who was a true standout talent. (Audio clip) 

Trailer Moment (scene or moment that best describes this movie):

Of course….THE standout sequence occurs about 70 minutes into the film and it’s surprising when it happens.  I’m referring to the now ICONIC barn-raising scene which as quaint as it seems on the surface is genuinely impressive film-making on Weir's part. The scene not only gives Ford a chance to showcase his old carpentry skills but just in the way he's interacting with every one else, it's genuinely fascinating to watch him holding his own and yet sticking out like a sore thumb regardless - Book still sees this as grunt-work that needs to finished as opposed to it holding more meaning to everyone else as a demonstration of their community. It's just a beautifully executed sequence, shot and scored well for maximum impact. (Audio clip)  

MVP (person or people most responsible for the success of this film):

Ford is genuinely fantastic in this and as he presents a fully-realized human being who's more than just an upright hero...he has moments of vulnerability, humor, and sometimes just curiosity. There's a fish-out-of-water aspect to his arc in this but it goes further than that...he never forgets that he's a cop at his core and we watch as those instincts serve him well within this environment and even when they don't, we see how that pushes him towards becoming a better cop and man all around.  For delivering what might be his BEST overall performance, Harrison Ford is the MVP. 

Final Rating: 5 stars out of 5

Happy 40th to one of THE best romantic dramas AND thrillers of the 1980’s….you could even make a strong case that might be Weir’s best film.  My personal choice for him would still be previous episode Master and Commander….still an amazing filmmaker at the peak of his powers here. 

Streaming on Apple TV+, hoopla, and Pluto TV

And that ends another BARN-RAISING review!