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Entries in Witness (7)

Wednesday
Feb242021

Last few days to stream these titles!

by Nathaniel R

Crazy Rich Asians is about to leave HBO

We've decided to do our streaming roulette feature a bit differently (and weekly) since streaming movies come and go so quickly. It's too overwelming to list everything and who's checking three weeks later anyway? We'll start on March 1st but since there's only four days left in February, here are some titles that you might want to watch now because they're leaving the services this weekend! As we do we've blind-frozen them at totally random places (no cheating) just to see what image/line comes up and sharing it with you...

Click to read more ...

Friday
Feb212020

Posterized: Harrison Ford

by Nathaniel R

Harrison Ford has been a major star for our whole lives but Call of the Wild (2019), opening today nationwide, is actually the first time in many years that studios have trusted his name alone to sell a picture. Well, that and a CGI dog, but the solo name (no pun intended) above the title is still worth noting. 

Ford, who is now 77, has been a regular on movie screens for over 50 years and his films have amassed over $9 billion dollars globally. But he wasn't always a superstar. In the 1970s he wasn't just acting for filmmakers but also doing carpentry jobs to support his then wife and sons (Francis Ford Coppola famously hired him as a carpenter before casting him in The Conversation and Apocalypse Now). The rest, of course, is showbiz history.

How many of his 49 pictures (excluding uncredited appearances and voice only roles) have you seen? All 49 posters are after the jump as well as a breakdown of his career in chapters...

Click to read more ...

Sunday
Nov062016

Podcast: The Handmaiden and Other Heavenly Creatures

We're back to weekly podcasts! This week Nick and Nathaniel revisit a summer favorite that's now on DVD and have divergent feelings about The Handmaiden despite their mutual Park Chan-wook history.

Index (41 minutes)
00:01 A Heavenly Creatures revisit
05:10 The Handmaiden and that time Nathaniel and Nick watched a Park Chan-wook together
25:00 Almodóvar's Julieta and Farhadi's The Salesman
34:00 Doctor Strangé & Captain Fantastic briefly to wrap-up

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you?  

Referenced in this conversation:
Nick's Isabelle Huppert e-mail hack | Nathaniel's photo op with Viggo Mortensen | A recent rewatch of WitnessAlama Drafthouse Night Out | 1994 Oscar Races 

The Handmaiden Fantastic

Wednesday
Apr132016

Visual Index: Best Shots from "Witness"

Hit Me With Your Best Shot revisited Witness (1985) this week to celebrate the continuing excellence of the Australian cinematographer John Seale. It was such an unexpected treat to see him doing ambitious ravishing and inspired work as a septugenarian (Mad Max Fury Road) that rivals anything he did in his 30s (Careful He Might Hear You), 40s (Rain Man) or 50s (The English Patient, The Talented Mr Ripley) and though he didn't win a second Oscar he did win our renewed ecstatic fandom. Seale's earliest Oscar nomination came for his work lensing the gorgeous moving cop drama Witness (1985).  Here are the results of our "Best Shot" challenge from the participants. The more eyeballs the merrier so join us one of these weeks alright?

WITNESS (1985)
Directed by Peter Weir. Shot by John Seale
Click on any of the 12 images to be directed to the corresponding articles
(Nominated for 8 Academy Awards including Best Cinematography) 

 I really liked how well rounded all the Amish characters are...
-Rachel's Reviews 

How does violence affect a child?
-Film Mix Tape

Christian Bonamusa

 

He apparently took plenty of inspiration from Flemish and Dutch painters of the 17th century (art history student alert!)
-Magnificent Obsession 

The cinematography in this whole sequence is breathtaking...
-Cinema Cities 


It *is* a crime thriller, but it's more heartfelt and intimate and could very well be categorized as a love story... 
-Sorta That Guy 

The movie isn’t what I expected, but in ways that were very pleasant. 
-Wick's Picks 


In its best moments, Witness is some straight-up Terence Malick magic hour Days of Heaven shit...
-Dancing Dan 

That atypical reserve gives the cop drama a unique contemplative charge within its genre. 
- The Film Experience

I went for a shot that embraces the silence...
-Scopophiliac at the Cinema 

a romantic drama that forgets its supposed to be a thriller until the last 20 minutes
-Drink Your Juice, Shelby 


Perhaps the most impressive moment of Ford's career 
-Cinematic Corner

 

What is your favorite shot from Witness? When was the last time you'd seen it?

Next week on "Best Shot": Clint Eastwood and Geraldine Page in THE BEGUILED (1971) to be remade by Sofia Coppola (!)

Tuesday
Apr122016

The Act of Seeing in "Witness"

Peter Weir's Oscar nominated Witness (1985) was not chosen for our Best Shot series for its title, though that's as apt a logline for this series as any. The title refers to young Samuel Lapp (Lukas Hass, in a sterling child performance) but it neatly doubles as a surprisingly hushed command to the audience out there in the dark.

Lukas Haas figures it out at the police station

The story may spring from an abrupt violent murder in a public bathroom which Samuel sees, wide-eyed, from a bathroom stall but there's very little about the hit drama that is as in your face as its story beats and genre might otherwise suggest. From its earliest longshot of Amish villagers coming into view above a field of grass, to its sublimely casual farewell of its last shot (with two men crossing paths outside the home of the woman they both love), the movie is surprisingly gentle and patient.

Though violence bookends the events and the movie's sheer quality grants it that Oscar ready "Best" scale, Witness is actually something of a miniature. Weir focuses nearly all our energy on watching our good cop hero John Book (Harrison Ford, perfection), live among the Amish as he hides from the bad guys, figuring out his next move, rather than hunting them down. That atypical reserve gives the cop drama a unique contemplative charge within its genre. And Peter Weir and John Seale's beautiful work in composition and lighting keeps you entranced throughout whether you're watching barn raising, peach canning, or cow milking, or a very odd couple (city cop and Amish widow) hoping the other isn't seeing their longing. The light through windows and from sun or (often) lamps is always artfully caressing these marvelous faces (kudos to casting director Diane Crittendon for going with unknowns or barely knowns for the Amish characters and giving Viggo Mortensen his first feature film role). In another amazing shot about seeing, the Amish father finds his daughter and the cop dancing in the barn and they're lit behind by the lamp and the headlights from Book's car. It's one of the only shots that feel theatrically staged but it works because it's so heightened, the father's distorted suspicious understanding and the couple feeling guilty about sins they haven't yet committed.

But it's an atypical shot, in which we're essentially barred from looking, that emerges as one of this great film's most potent images

Harrison Ford earns this Oscar nomination.

In this phone call sequence, John Book realizes that his partner has been murdered. He hangs up the phone and the camera waits behind him as he processes and makes a second far more impulsive call. Though we're not seeing our star in the traditional sense his character and the details of his current situation are laid bare. The barely surpressed rage in his voice and his slew of profanities and threats paired with the camera angle seem to be protecting Book from himself, the way Book self-edits and is careful to behave as a guest in Rachel's home. The crisp details of the image (the textures of that borrowed Amish hat, the sweat on his hair, the minute shifting in his knotted neck) all add indelibly to this frightening flash of a good man letting the beast out.

Tellingly the very next shot of John Book, has him back in the horse and buggy, head bowed momentarily as if with shame. And then he explodes again when he sees a tourist taunting his new Amish friend (Alexander Godunov). Book may not be truly assimilating but his alien experiences are forcefully reshaping him in this exquisitely judged movie.