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I just recently watched this movie in my Development of Film class. We're studying the Social Drama. Last week we watched "Fury" with Spencer Tracy, so this week we watched a contemporary film in the genre. I have to give it up for Peter Weir! He did a spectacular job!

The premise is intriguing. A young Amish boy goes to the bathroom in a train station and witnesses a bloody murder. Enter Philadelphia cop John Book (Harrison Ford). Now, we had several discussions about this film and I started to realize some flaws that didn't exactly come clear in my mind at the time. First of all, a little innocent Amish boy isn't going to witness something that grisly and recover that well. Living in an Amish environment, he probably doesn't even know the definition of the word "violence." So the boy wouldn't be able to return to his native environment and go on with his life like usual. He'd keep having nightmares and flashbacks. He'd be traumatized 'til the day he dies! However, I have to note Lukas Haas delivered a terrific performance. I'm not sure how much appraise he got for this moderately thankless role. For a boy of his age to take on a role like that, I have to commend him. Lukas, in recent years, has concentrated on more independent works like "Boys" with Wynona Ryder and the underrated "johns" with David Arquette, in which he plays a gay prostitute. He's still a fine actor, and I'm impressed to see his advancement to more grown-up roles, but many probably forgot about him. So I think he should be remembered for that little role, even to this day. But typical Hollywood, Harrison Ford agrees to do a film--he's the star! And the whole subplot with the little boy gets pushed aside. Now, Harrison was terrific in this movie--probably why I wasn't bothered too much about him being the center of attention--and I think he's a very underrated actor (sure he's widely known, but recognize him more as a macho action hero than an actor), but I think if Weir decided to expand that subplot it would've made a more interesting film.

Kelly McGillis is convincing as the boy's Amish mother, who gets swept away by Book. Even as an Amish woman, I think she looked beautiful. I haven't exactly been traveling around Amish country, but I don't know how often you would find an Amish woman that beautiful. Plus, that scene where she's sponge-bathing topless--Wow! That brings me to another point. I like how Weir never actually decided to put a sex scene to demonstrate the relationship between her and Book. In the aforementioned sponge-bathing scene, there's a long period where they just stare at each other and there's absolutely no dialogue! I found that very impressive. It's a very erotic scene, without them actually having to jump into bed together. That's something you rarely see in the movies. The sexual tension between the two characters is simply impressed by their mannerisms. Danny Glover is convincingly frightening as the villain. Also look for an early performance by Viggo Mortensen. He doesn't have many--in fact, I don't if he has any--speaking parts, but he's in quite a few scenes.

There's a lot of good fish-out-of-water comedy when the city-born Book tries to learn the ways of the Amish. I was cracking up when Harrison puts on the Amish garb, with the bottom of his pants above his ankles. That's a picture worth a thousand words. Weir is fascinated by clashes in cultures, and it's highly evident in many scenes from this movie. Those scenes provide some good comic relief. This may be considered typical Hollywood, but I loved the scene where Harrison Ford gets out of the chariot (now as one of the Amish) to beat the crap out of one of the thugs who was giving them trouble. That was an awesome scene! Weir also captures some beautiful, sometimes breathtaking, shots of the scenery. The music is great too, especially in the barn-raising scene. The ending is well-done, and I liked how it wasn't one of those walk-into-the-sunset conclusions. I don't want to give anything away, but that was one of the non-typical Hollywood elements of the film.

Despite its now-discovered flaws, I still love this movie and wouldn't mind watching it on many repeat viewings. It's just a fascinating, wonderfully made piece of cinema that will hold its place in the history of celluloid. I urge you to witness this triumphant work!

My score: 9 (out of 10)

Won Oscars for Best Writing, Screenplay Written Directly for the Screen, and Best Editing. Nominated for five more Oscars including Best Picture, Best Actor, Harrison Ford, and Best Director Peter Weir. Weir Directed the 'The Year of Living Dangerously', and 'The Truman Show'. After seeing it maybe 10 times, I find it is one of those infrequent stories that still draws my attention. This places it in the company of pictures like 'The Godfather', and some others which stand the test of repeat viewings over time. Kelly McGillis is the film's intelligent and talented secret weapon. Her performance makes me wonder where she is these days. She is an Amish widow from a rural Amish community. On a trip to the city her little boy witnesses a murder in the restroom of a train station. Police investigator Harrison Ford finds himself targeted along with the boy by corrupt cops in his unit that did the murder. He is hurt in a shootout and hides with the Amish. He wears Amish clothes, and labors with the men of the community as he rebuilds his strength. An attraction naturally develops between the McGillis and Ford charactors. The chemistry is remarkably intelligent, and authentically portrayed. Their worlds are seperated by a cultural gulf. They are drawn by each other, and respect one another. The contrasts are drawn clearly between the quaint honesty and almost dreamlike serenity of the Amish, and the horrible violence intruding upon them from the outside world. The resolution of the story should not be given away to someone who has not seen the movie. This film is a different kind of thriller in more ways than one. It's makers kept it intelligent, instead of resorting to another pyrotechnic joyride. -Robert Hartman-

„Witness" works on 3 levels – as a thriller , drama and romance. The thriller elements of the movie appear at the beginning and the ending of the movie, while the middle of the film is basically a drama with a love story in it. It's an interesting combination and while it might not work for those who like pure thrillers or dramas it certainly worked for me. One has to remember that "Witness" is first a electrifying and poignant love story , then the thriller. A romantic thriller.

It's a movie worth watching just for the fact that is first and one of the few films to focus on Amish culture. As a kid I would laugh at their philosophy of life . The more and more I'm getting older the more I'm thinking they are right. The Amish way of life has many virtues - they have a deep faith in God , pacifism , sense of community.

"Witness" is a story about cultural clash between two completely different worlds. Both cultures are forced to come together. Each one had to search out the moralities, prejudices and actions of the other. The film is thankfully devoid of easy moralizing.

It's an interesting thing that Sylvester Stallone ("Rocky") and Jack Nicholson ("One flew over the cuckoo nest") were considered for the role of John Book . While I do believe that they would handle the role very well , I'm happy that Harrison Ford ("Raiders of the lost ark") got the part in the end. Harrison Ford gives his finest performance in "Witness" , the only one which got him an Oscar nomination. Hord walks away from his hero persona (Indiana Jones , Han Solo). His John Book isn't stereotypical cynical and strong cop. His tough enough to be convincing as a city cop , but it's more about his sense of duty and dignity. It's interesting how the film uses Ford's real-life carpenter's talent. Kelly McGillis ("Top gun") also gives a great and underrated performance , the best in her career. Her Rachel is very sensible and lonely woman , who finds soul mate in Book. Both Ford and McGillis have a wonderful chemistry together . The say much more by the things they don't say (for example the bating scene , the dance scene). The romantic plot reaches it's climax with one of the best on-screen kisses in the history of film. This brief-scene is powerful , sincere and moving. The love story here is beautiful and tragic.

Danny Glover("Lethal weapon") does a nice job as the bad guy. Who could forget Lukas Haas ("Inception") as the Amish kid. His cheerful , colorful face is something that can't go unseen. Watch out for Viggo Mortensen ("The Lord of the rings " trilogy) in his debut as an Amish.

Peter Weir gives a brilliant direction . This is a simple story wit heart . Every dramatic moment is powerful and every small scene is important. Weir isn't a action/thriller director , yet he gives us great Hitchcockian set pieces such as the scene in the toilet and the final confrontation in style of "High noon" (silo death).

The screenplay quite rightfully won the Oscar. The film's script by Earl W. Wallace, William Kelley and Pamela Wallace has become a frequent model for budding screenwriters, often used to display clear structure in a screenplay. It is a film about adults, whose lives have dignity and whose choices matter to them just like it's a story about cops.

The soundtrack by Maurice Jarre is good , but I think it would have sounded much better with real orchestra instead of synthesizer. John Searle's cinematography is gorgeous – the scene of raising the barn is cinematic lyricism.

Highly recommended. I give it 8/10.

Harrison Ford is one of those actors that often times just shows up and then there lies his character. This is the Harrison Ford school of acting. Not the case in "Witness". I won't begin to wonder what would have caused this change of pace, but it was quite a surprise to see. Peter Weir is a favorite director of mine, mainly for his life changing films (for the viewer and the characters alike), like "Picnic at Hanging Rock" and "Fearless" ... and I have sadly waited a very long time to get around to this one. Even 17 years after its initial release, it seems to still stand up with themes that truly speak. I expected some sort of a courtroom drama, but instead found a film that presents a dichotomy between old world and new world values and sensibilities and really asks whether change is always for the best. This is a profound and exciting thriller.

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 multifaceted film which is well worth watching.