In one moment of poised perfection, Book spots the widow Rachel washing and their eyes meet, without a single caress the sexuality is more vivid and electrifying than any number of cheap fleshy tumbles. Kelly McGillis and Ford create a subtle, yearning chemistry. There’s one lovely montage in which the entire community erect a barn (spot the young Viggo Mortensen) a portrayal of communal harmony swelling to Maurice Jarre’s soft, poetic score that matches the gentle rise of the countryside.Īt heart, though, and heart is what matters in Weir’s films, this is a romance. But this is not a parody, through Book’s opening eyes, it highlights a purity in their way of life. This strange corner of America might as well be Oz it is so closed off from the outside world, shunting the worldliness of electricity, music, standard clothing, normal pleasures. Weir also has such a feel for unusual locations, his films never bind us to the familiar. He has found depth in Mel Gibson, Robin Williams, and Jim Carrey, but with Ford he liberates him from iconography and lets John Book (what a solid, unshowy name) become an awkward, swagger-less, fascinating, lonely man - the anti-Indy. Weir is so good at containing big stars personas, and then drawing potent performances out of them. For this is an anti-thriller, much more about love than murder. When the traditional gun-toting action finally arrives it’s like a rude interruption.
The film is a remake of the 2011 South Korean film Blind, 2 also by the same director. That’s because in many ways it is an anti-‘80s film, its emphasis on character, cultural identity, mood and the diversity and conflicts of American life give it the weight and purpose of those expert policiers from the ‘70s. The Witness (Chinese: ) is a 2015 suspense crime drama film directed by Ahn Sang-hoon, starring Yang Mi and Lu Han.
#THE WITNESS MOVIE MOVIE#
The acting, cinematography, editing and music all contribute to the suspense keeping me engaged in the movie and its outcome.Arguably Harrison Ford’s finest performance, and one of the strongest thrillers to emerge from the heady gloss of the ‘80s, this is director Peter Weir at his most adept. There are lots of opportunity for tension as the evil Tang Zhen is thwarted time and again but he still persists. Xiaoxing and then pursuing the youthful Lin Chong. At first his testimony was not taken seriously adding to the tension as the Tang Zheng character kept up his stocking the blind Ms. Along with Lu Xiaoxing (Yang Mi) and Captain Lu (Wang Jingchan) I too thought it was a taxi which led to misguided searches until a rollerskater got involved in the mystery. The suspense starts with her mistaking a vehicle for a taxi driven by one nefarious character portrayed by Zhu Yawen. The film does an excellent job of portraying how it is to be blind. The two of them behaved like delinquets resulting in a car crash, leaving him dead and her blind.
At first I was not going to give this film much hope based on the opening scene of the police officer taking her younger brother off stage during a performance. Natsume Hamanaka was a police rookie with a promising future until she was in a car crash that killed her brother and took her eyesight.
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