[FilmReview]Witness(1985)7.1/10

Vis-à-vistheholygrailforeveryHollywoodploddingactor,theOscarglory,quondammegastarHarrisonFordappearstobeananomalyintermsofambition,comparedwithhisnext-generationmaleboxofficedrawslikeTomCruise,JohnnyDeppandBradPitt(allcurrentlythrice-nominatedfortheiractingchopswithoutawin,althoughtheiroddsseemtorecedeinrecentyearsduetomultiplereasons),hecontentedlyandconsistentlyprefersreceipts-proofstudioproductionsthanpotentialOscarbaits,soitisaninterestingcasethathisasyetsoleOscarnominationisderivedfromAntipodeandirectorPeterWeir’sfirstHollywoodforay,WITNESS,whichgraftsaboilerplatethrillertemplateontotherarelypresentedAmishminoritydwellinginLancasterCounty,Pennsylvania,andbecomesadarkhorsehitandunlikelyOscarcontenderwith8nominationsandtwowins,doesFordrideonthecoattailofitsrunawaysuccessorishereallyOscar-worthy?BeforeweevenlayoureyesonFord’sPhiladelphiadetectiveJohnBook,Weirmasterfullyopensthefilmwithapastoral,solemnAmishfuneraltointroducewidowRachelLapp(McGillis,inherbreakthroughrole)andher8-year-oldsonSamuel(LukasHaas,forthisreviewer’smoney,thecutest,mosttelegenickidevertomeltyourheart),then,rightduringhismaidentriptoabigcity,inthePhiladelphiatrainstation,Samuelinadvertentlywitnessamurderinthemen’sroom,profusebloodissplatteredinfrontofhisinnocenteyes,andheonlyavoidsbeingcaughtbyahair’sbreadth,whatanextraordinarykidheis!Possessingsuchpresenceofmind,heshouldbepluggingforAmishupbringingafterwards.Ergo,hereentersJohnBook,ourdiligentdetective,whoselifesoonisimperiledbySamuel’schancediscoveryoftheassassin,whichlinkstherottencoretohisdirectsuperiorChiefPaulSchaeffer(Sommer,looksoutofsortsinhisanemiccomplexion),aftersurvivinganambushanddrivingRachelandSamuelbacktotheirhometurf,awoundedJohnstaystorecuperate,andbeginstoparticipateinAmishactivities,inevitablymutualattractionsizzlesbetweenhimandRachel(ignitedbyasensual,perspiringhumminganddancingtothetunesofWONDERFULWORLD),thereareplentytimebeforeSchaefferandhislackeyscanpinpointhiswhereabout(aplotdeviceseemsonlyprobableatthattime),duringwhichJohnimpressivelyshowshiscarpentryskill(anin-jokebecauseFordwasacarpenterbeforeplungingintoshowbiz)intheannualbarn-raisingday,whacksawhippersnapperwhotauntsthepacifistAmishpeople,andfinallyunleasheshishithertosuppresseddesirewithareciprocalRachel,Weiristrulyaufaitwiththestokedpassionbetweenamanandawoman,whoarehamperedbytheirdifferentpersuasionsanduncertainfuturity,andnotonlyprojectedfromahabitualmalegazeangle.AfinalshowdownisrespectfullyleftnoAmishbeinghurt,afterBookusingingenuitytodispatchtwovillains(amaniacDannyGloverincluded),thedangerisdefusedbyatestamenttothetruism“thereissafetyinnumbers”,whichlendsthestoryasurprisinglyrealisticspinoutofitswell-worngenretropes.Fordisasgoodasonecanexpect,conjuringupbonhomie,bona-fidesandsexappealwithsufficientexigencyandcommitment,andsoisKellyMcGillis,stalwartlystickswithhergunsinfidelitytoRachel’struefeelings.AminorgripeisthatLukasHaas’Samuelhasbeenmostlyleftonthesidelinewhenromanceandculturaladaptationisputtothefore,alostopportunitytomineintothepsycheofayoungkidrelativetotheconceptof“innocencelost”,whenHaasmanifestsarareaffectingbrillianceonscreen.Thatsaid,WITNESSthrivesasaconsequentialconglomerateofenclaveinfotainmentandgenreexercise,ashotinWeir’sarmandaboontoHarrisonFord’sawards-eludingactingfacility.referentialentries:Weir’sTHEYEAROFLIVINGDANGEROUSLY(1982,6.4/10),THETRUMANSHOW(1998,8.3/10),PICNICATHANGINGROCK(1975,8.9/10).本文版权归作者他他所有，任何形式转载请联系作者。