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Harrison Ford must hide among the Amish after he discovers corruption within his police department. Witness was an opportunity for Ford to show his acting chops, and it remains one of his best performances. This was the first American film made by Australian director Peter Weir (Picnic at Hanging Rock, Fearless). Weir is probably my favorite director. He relies on visuals and music more than dialogue, imbuing his films with a lyrical, contemplative quality that I find completely absorbing.

There’s a forbidden love story in Witness between Ford and an Amish woman played by Kelly McGillis (Top Gun). I wish more movies would take a cue from this film about how love stories should be handled. The bulk of their romance is communicated in wordless glances. One of their biggest dramatic scenes contains only one line of dialogue, but it packs a wallop nonetheless. And their ‘big goodbye’ scene has no dialogue at all. Just watch how Ford and Kelly McGillis look at each other in this movie — no words could ever possibly convey the desire in their eyes. Weir is a master of avoiding pointed, clunky dialogue if he can help it, and his films are all the more emotionally rich for it.

I also love how he uses music in his films, often working with composer Maurice Jarre. In this film, Jarre takes a somewhat anachronistic approach by using synthesizers to depict the austere world of the Amish. It’s not the traditional musical palette, but it works somehow — helping to make Witness feel fresh and distinct. When Ford helps the Amish build a barn in one day, Jarre’s music begins with deep synthesized strings, rooted in tradition, and slowly marches to higher notes in a steady manner, as though the barn building is bringing the characters closer to God. The scene is about a clash of cultures, unity, and more than one kind of ascension. And we get to that meaning, again, largely without dialogue.

Witness is lensed gorgeously by John Seale and features early screen appearances from Danny Glover and Viggo Mortensen. With Lukas Haas, Josef Sommer, Jan Rubes, Alexander Godunov, and Patti LuPone, .

Academy Awards: Best Original Screenplay, Film Editing

Nominations: Best Picture, Leading Actor (Ford), Director, Cinematography, Art Direction, Score