Perhaps the most distinctive feature of Peter Weir’s 1985 film Witness is its representation of the collision of two different worlds; that of the mainstream American society – presented as a disconnected and violent urban world, and the pacifist world of the Pennsylvanian Amish community. Each of these worlds has their own unique culture and it is through the meeting of these two cultures that meaning is made within the text. In particular, the Amish culture is treated with sensitivity throughout the film, thus conveying a message of tolerance and acceptance of differences. When considered in light of the film’s context, this is a remarkably striking message for a film composed in the 1980s culture of hedonism and materialism.
The differences between mainstream American society and the Amish community are conveyed to the audience through the interaction between the various elements of the film, its features and structure. This powerful combination of cinematic devices allows the key concerns of the film to successfully reach the audience.
This means that, like all films, Witness employs a unique mise-en-scene to communicate its meaning and explore its central themes. Mise-en-scene is a French term used to describe the construction of a scene and everything within that scene which is visible to the audience. For example, the establishing shot of the film is a low angle full shot of gently swaying grass. We are positioned low in the grass, amidst it, in order to evoke a sense of being immersed in nature; an experience far removed from the daily existence of the film’s intended audience. This opening image works in tandem with the quiet majesty of the musical score to convey a tone of tranquillity. This assists in establishing the Amish as a peaceful community of people who live harmoniously until their tranquility is intruded upon by the outside world.
Therefore,