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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.

An earlier comment on the site suggests that the film is flawed because the Amish boy, coming from a secure, peaceful environment, would not be able to witness a scene of brutality without becoming utterly traumatised.

Far from being a flaw, I believe this is a key statement of the theme of the film - that the close, peaceful and loving upbringing he has enjoyed provide the boy with an emotional strength and resilience that allows him to recognise evil and reject it. Later that same environment will provide the embittered and emotionally scarred with a temporary oasis where he can in part recover from the loveless violence of his own life.

Contrast the failure of community in the vast and soulless terminal building, where the first scene is set, where every one is isolated by the indifference and aggression of their fellow travellers, with the co-operative endeavour of the justly famous barn raising scene, where even the outsider is welcomed and included in an act of joint creation.

'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.

I daresay that I would have enjoyed 'Witness (1985)' even more had it remained a conventional mystery thriller. This, perhaps, reflects rather negatively on my film-buff credentials, but the film's opening act mounted the tension so brilliantly that it was a pity to see that suspense slowly dissipate into the background. Such an appeal, however, seems quite groundless where director Peter Weir is concerned; given my previous experience with his work, both in Australian cinema (the classic war picture, 'Gallipoli (1981)') and following his move to Hollywood (the uplifting 'Dead Poet's Society (1989)'), Weir has always favoured emotion and human interaction over the raw thrill of adrenalin-charged action. Even as it stands, 'Witness' deserves to be celebrated for its strong performances, sensitive screenplay and thoughtful exploration of the contrast between the pacifism of the Amish people and the violence and corruption of 1980s mainstream America. The film was Weir's first in Hollywood, after achieving great success with the Australian productions 'Gallipoli' and 'The Year of Living Dangerously (1982).'

Following the death of her husband, a grieving Amish woman, Rachel Lapp (Kelly McGillis), takes her young son Samuel (Lukas Haas) into the city. It is Samuel's first major venture into the lifestyle shunned by his people, and he is initially awed and excited by all the fresh sights and sounds presented to him. But it doesn't take long for the reality of modern society, corrupted and poisoned by the stench of greed and violence, to rear it's ugly head – in the bathroom of a railway station, Samuel witnesses the brutal murder of a city detective, and only he can identify the men responsible. A weary cop, Det. Capt. John Book (Harrison Ford), employs the young boy's help in solving the case, and, when Samuel positively identifies a respected narcotics detective from his own department, Book begins to understand that they've stumbled into something far deeper than anybody could ever have anticipated. Now with a price on his head, Book falls into hiding with the reluctant Amish community, and both parties come to learn a thing or two about the conflicting values of their respective worlds.

Harrison Ford has rarely given a better performance. He's not an actor whom one would typically associate with having a lot of emotional range, but John Book is an intriguingly-subtle character. Note, most particularly, the scene in which Book and Rachel dance in the barn to Sam Cooke's "Wonderful World" – throughout the entire sequence, Book is continually pausing, contemplating the physical contact that is seemingly obligatory in cinematic moments such as these, and consistently deciding against it. Kelly McGillis is remarkably beautiful as the emotionally-conflicted widow, all the more because her character actively attempts to repress any lingering streaks of eroticism (and also thanks to her Amish attire, which fortunately denied her one of those horrifically-dated 1980s hairstyles – see 'Top Gun (1987)'). A crucial benefit of the film's sobering middle act, supplemented by the soft, graceful cinematography of John Seale, is that the audience gradually loses his desensitisation towards violence on film, and so the story's brutal climax is a completely jarring shock to the nerves.

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-