Witnessing Cultures Collide: A Cinematic Analysis of Peter Weir’s ‘Witness’
The film ‘Witness,’ directed by Peter Weir, invites viewers to become critical responders, reliant on the extent to which they are able to interpret Weir’s cinematography. Within various scenes, Weir utilizes cinematography to direct visual attention and communicate complex emotions and attitudes. The creation of these scenes leads the viewer to a deeper understanding of cross-cultural conflict and the corruption of those with power.
The Identification Scene: A Collision of Worlds
The identification scene explores the meaning of the main ideas regarding power and corruption and the collision of two worlds. The camera assumes the visual perspective of Samuel, and the world of the police station is heightened through the eyes of a child. This distorts the viewer’s perspective.
The setting becomes realistic with the sharpening of the background noise of the typewriter, the use of artificial lighting, and the camera’s focus on Samuel. The buzz of the office marks Samuel as an outsider, and his costume and size set him apart, creating a divide between the two worlds. Samuel becomes the representation of Amish innocence contrasted against the vision of corruption within the police force and Philadelphia.
As Samuel looks into the cabinet of trophies, the camera becomes his eyes, and the audience sees him identify McFee in the newspaper article. In a case of dramatic irony, McFee is being celebrated and honored when, in fact, the viewer is fully aware of his corruption.
The moment of recognition is made even more theatrical in its intensity with Jarre’s music, inviting the viewer to engage their senses. As in the bathing scene, Weir has completely disregarded the use of dialogue. The lack of dialogue combined with the slow-motion shot from the point of identification to Book hiding Samuel’s pointing finger intensifies the moment, creating suspense and danger. Close-ups are used to capture the expressions on the two characters’ faces clearly, and as Book bends to Samuel’s level, he assumes control and becomes his protector. In this film noir atmosphere, one understands the depth of corruption in the police force.
The Barn Raising Scene: A Glimpse into Amish Life
The barn-raising scene encapsulates the true nature of Amish life. The start of the scene begins by showing the arrival of the Amish with a slow panning shot, used by Weir to showcase the Amish way of life, whilst Jarre’s spirited and anthem-like music heightens the viewer’s impression of Amish unity and moral integrity. Low angle shots uplift and inspire the audience. This scene is significant as no such positive image of Book’s world is ever shown.
Amish gender roles are made distinct through the cutting of shots from the men involved in building the barn to the women preparing food. The traditional gender roles and family life of the Amish are contrasted with the dysfunctional family life of the English. We continually see juxtaposing scenes comparing Amish life to mainstream America. In doing so, Weir invites the viewer to compare both worlds and make judgments.
The frame after frame of Rachel and John exchanging looks conveys their attraction, clashing with the disapproving looks from Eli and Daniel as Rachel begins to defy the Amish way and become her own woman. John’s participation in building the barn shows his ability to belong within the Amish community, giving the viewer a sense of hope for their forbidden love. However, John is not only a participant but also a witness to Amish culture. The contrast with mainstream American culture is heightened in this scene.
The Bathing Scene: An Outburst of Suppressed Tension
The bathing scene is one of the most significant in the film, showing the movement of both Rachel and Book between their worlds, where all boundaries are abandoned in an outburst of mounting sexual tension. Weir has often commented that he relies on his actors’ ability to communicate without words to establish mood and shape anticipation. The short yet captivating scene is drawn out with the complete lack of dialogue, escalating the sexual tension between Book and Rachel. The pathetic fallacy of the storm in the background symbolizes the suppressed power of their feelings for each other and their struggle with the conflicting emotions of longing and restraint.
The motif of witnessing is at its most intense in this scene as Book witnesses Rachel bathing. Rachel is forthright and assumes power when she sees him in the mirror. The extreme close-ups of Rachel’s body take the focus of the camera, along with the heavy shadowing from the dim lighting, creating an intimate and sensuous mood. The close-ups and shot reverse shots between John and Rachel create a feeling of intimacy and allow the responder to see their building attraction. Rachel’s confronting gaze dominates the camera, and as she turns towards it, she abandons all Amish law and offers herself to Book. Rachel’s lack of costume redefines her, heightening the viewer’s perceptions of her as a woman.
Book’s longing gaze encourages us to empathize with him, and we see him moving into the world of the Amish by respecting Rachel and having the strength to conform. The recurring use of framing emphasizes the barriers between them and the distance between their two worlds.
The Power of the Lens: Inviting Critical Response
Weir characteristically uses the power of the lens to direct visual attention. Through the use of production tools, Weir takes a willing responder into the minds and lives of the characters and manipulates their feelings to convey meaning. Witnessing reflects an experience and can become a catalyst for change. As the film’s name suggests, ‘Witness’ invites the viewer to become critical responders within their experience viewing the film as they interpret Weir’s cinematography.