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Witness comes billed as a thriller, but it's so much more than a thriller that I wish they hadn't even used the word "murder" in the ads. This is, first of all, an electrifying and poignant love story. Then it is a movie about the choices we make in life and the choices that other people make for us. Only then is it a thriller - one that Alfred Hitchcock would have been proud to make.

The movie's first act sets up the plot, leaving it a lot of time to deal with the characters and learn about them. The film begins on an Amish settlement in Pennsylvania, where for 200 years a self-sufficient religious community has proudly held onto the ways of their ancestors. The Amish are deeply suspicious of outsiders and stubbornly dedicated to their rural lifestyle, with its horses and carriages, its communal barn-raisings, its gas lanterns instead of electricity, hooks instead of buttons.

An Amish man dies. His widow and young son leave on a train journey. In the train station in Philadelphia, the little boy witnesses a murder. Harrison Ford plays the tough big city detective who gets assigned to the case. He stages lineups hoping the kid can spot the murderer. He shows the kid mug shots. Then it turns out that the police department itself is implicated in the killing. Ford is nearly murdered in an ambush. His life and the lives of the widow and her son are in immediate danger. He manages to drive them all back to the Amish lands of Pennsylvania before collapsing from loss of blood.

And it's at this point, really, that the movie begins. Up until the return to Pennsylvania, "Witness" has been a slick, superior thriller. Now it turns into an intelligent and perceptive love story. It's not one of those romances where the man and woman fall into each other's arms because their hormones are programmed that way. It's about two independent, complicated people who begin to love each other because they have shared danger, they work well together, they respect each other - and because their physical attraction for each other is so strong it almost becomes another character in the movie.

"Witness" was directed by Peter Weir , the gifted Australian director of " The Year of Living Dangerously ." He has a strong and sure feeling for places, for the land, for the way that people build their self-regard by the way they do their work.

In the whole middle section of this movie, he shows the man from the city and the simple Amish women within the context of the Amish community. It is masterful filmmaking, The thriller elements alone would command our attention. The love story by itself would be exciting. The ways of life in the Amish community are so well observed that they have a documentary feel. But all three elements work together so well that something organic is happening here; we're inside this story.

Harrison Ford has never given a better performance in a movie. Kelly McGillis , the young actress who plays the Amish widow, has a kind of luminous simplicity about her; it is refreshing and even subtly erotic to see a woman who doesn't subscribe to all the standard man-woman programmed responses of modern society.

The love that begins to grow between them is not made out of clichés; the cultural gulf that separates them, is at least as important to both of them as the feelings they have. When they finally kiss, it is a glorious sensuous moment because this kiss is a sharing of trust and passion, not just another plug- in element from your standard kit of movie images.

We have lately been getting so many pallid, bloodless little movies mostly recycled teenage exploitation films made by ambitious young stylist without a thought in their heads - that "Witness" arrives like a fresh new day. It is a movie about adults, whose lives have dignity and whose choices matter to them. And it is also one hell of a thriller.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Witness (1985)

112 minutes

Harrison Ford as John Book

Lukas Haas as Samuel

Josef Sommer as Schaeffer

Alexander Godunov as Daniel Hochleitner

Kelly McGillis as Rachel

Photographed by

Screenplay by.

• William Kelley
• Earl W. Wallace

Produced by

• Edward S. Feldman

Directed by

• Maurice Jarre

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‘Witness’ movie review: Shraddha Srinath, Rohini in a powerful anti-caste film that doesn’t pull any punches

Through powerful storytelling, debutant director deepak’s film raises important questions and shows the sheer savagery that we, the collective society, are ‘witness’ to.

Published - December 09, 2022 01:51 pm IST

Rohini and Shraddha Srinath in a still from ‘Witness’ | Photo Credit: SonyLIV

It’s always been easy to turn a blind eye to the social evils around us and to live in an imagined reality. When you are not the victim, it is easy to shrug your shoulders and blame this overpowering system that crushes those who don’t have the privilege to shruff it off. Debutant director Deepak’s Witness doesn’t give you a false sense of victory against these evils; it isn’t meant to prick you and plead with you to look. Witness throws at you a big, thick book with ‘LOOK’ in bold letters, and asks how ridiculous it is that we are now accustomed to looking at some of these social evils, like manual scavenging, as just another news topic.

Witness tells the story of how a middle-aged single mother Indrani (Rohini), who loses her college-going son Parthiban (Thamizharasan) to forced manual scavenging, chooses to fight back and not be silenced by the ones responsible for his death. Though she is up against a host of powerful people — from the owners of the apartment to the contractor, the sub-contractors, and some corrupt cops — she finds hope and support from a few guardian angels who find their way into her life. One among them is Petharaj (Selva C), a communist union leader, who first figures out the ploy behind Parthiban’s death and supports Indrani in her legal battle. Shraddha Srinath plays a free-spirited, sharp-tongued young woman, Parvathy, who lives in the apartment in which Parthiban died. She defies her neighbours and helps the late Parthiban find justice. A lawyer named Sivaprakasam (a fantastic Shanmugarajan) takes Indrani’s case and spits fire at the courthouse.

Witness (Tamil)

From the structure of the screenplay, Witnes s seems like a whodunit in the form of a legal drama, but it works more as a social drama. The film doesn’t wait anywhere to establish the socio-political angles that are fundamentally at play in any case of manual scavenging in India. People, like the pivotal landlord character (Srinath), have always been guilty of exploiting the state of the oppressed without having to be accountable. Through the casteist undertones in dialogues, the slang of Tamil spoken by each character, and the mentality exhibited towards people from certain localities and social classes, the film maps out who is the oppressor and who is oppressed.

Minutes into the story, you begin to notice a few cinematic liberties, and how there is a lot of convenience in the progression of events — for instance, Parvathy not only happens to be living at the same apartment in which the tragedy occurred, she is also Parthi’s swimming classmate and she is also the one who gets pivotal incriminating evidence. However, these liberties don’t dent the experience of watching Witness even a bit.

This is because there’s a clear signal that this isn’t a film that is meant to up the suspense or shock you with twists and turns. Through a straightforward story, it shows the sheer savagery that we, the collective society, are ‘witness’ to. Narratively, it has minimum struggle and maximum heart, and it never pulls its punches. The entire film is a series of quick, powerful jabs that raise many thought-provoking questions. Yes, it is message-y, and yes, it isn’t subtle. But that seems to be the whole point of the film; to make it as real as it can get, and to raise questions that are as real as they can be. To add to its credit, the film also doesn’t milk emotions out of you with a sudden tragedy — because everything that happens in the film is a tragedy on its own. There aren’t any melodramatic scenes of Parthiban that undermines the emotional intelligence of the audience; notice how the film uses a beautifully penned and composed song (‘Paravayaai Naam Parakkirom’) to tell so much about Parthiban, the love for his mother and the ideals he fights for.

Through a fantastic subplot for Shraddha Srinath and Rohini — both of them are excellent in the film — we also see how this system made by men tends to affect women more, and how some decisions of men, in a personal and professional capacity, create a long-lasting impact on the women.

Witness makes you point at yourself quite a lot. For instance, every time we come across a sloganeer/revolutionist/protester like Petharaj, it is easy to dismiss our involvement in their cause by blaming the hopelessness of such protests. But notice how the case of Parthiban would have been just one of the fifteen deaths that year had Petharaj not intervenedThe film does tell you the repercussions that come out of the set structures that this caste-obsessed and exploitative society has built for generations. It tells you that you are not always fighting to win, but you are also fighting to fight, to be allowed to raise your voice.

If you think all this will never concern you, think about this: Have you ever thought of what you would do if your landlord employs another human to clean your septic tank? Would you risk your comfortable stay at your home by antagonising your landlord? Or would you choose to be like Indrani or Parvathy, and start cleaning the rut? Witness may not be a film made with finesse, but it manages to point fingers at everyone, especially the witnesses.

Witness is currently streaming on Sony Liv

Related Topics

Tamil cinema / Indian cinema / social problems / social issues (general) / Caste

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Witness Reviews

No All Critics reviews for Witness.

Witness 4K UHD Review

• October 17, 2023

Time for Milking

Although Amish groups protested Witness’ depiction of their culture, to an outsider, the script appears to cautiously handles the circumstances to tell unique murder story, fighting for screen time with a romance. It’s engaging, thoughtful, and even softly humorous, at least until the expected gunfire exchange in the final act.

Witness does lose its plot, focusing on detective John Book (Harrison Ford) who’s hiding in Amish country while finding a way to expose internal crime within the police force. As expected, the culture clash disrupts the community, generating fish-out-of-water smiles even as Book settles, while falling for an Amish widow. The murder becomes secondary until Witness needs energy for the finale.

… a downbeat, unusually unhappy ending gives Witness more value

Ford earned his first Oscar nomination for this role, separating the actor from the sci-fi and adventure hero roles that made him a box office draw. Witness opened Ford up to more of these thriller/drama features, from Frantic to Presumed Innocent , and even The Fugitive . Witness plays more leisurely with the material, less interested in theatrical tension and danger, instead focusing on understanding people in a time of crisis.

John Book wears guilt on his face for much of the movie, knowing he brought unwilling Amish into a different world, even endangering them. The simplicity with which the Amish live provides more shelter than the buildings, allowing Book to breathe, recover from wounds, and find a place – socially uncomfortable as it is – within their ranks.

Importantly, Witness doesn’t judge how one chooses to live their life. It’s never mocking or looking down on any personal decisions, and if anything, Book’s adjustment to this simpler life allows him a freedom he’s never known. That includes falling for Rachel (Kelly McGillis), furthering the divide among the Amish who already look toward the outsider with questioning, even worrying eyes.

Witness is a rare script where the romance is not necessarily forbidden (culturally it is, of course) but outright impossible. Book’s feeling for Rachel cannot overcome the divergent lifestyles even if Book shows doubt multiple times. The idea is to root for the momentary happiness, that two people experiencing intense emotional pressure can still find one another and smile, beliefs mattering not. What’s often considered a downbeat, unusually unhappy ending gives Witness more value, that no matter how we live, in a time of crisis, we all share a common moral bond.

Arrow’s presentation uses Dolby Vision, the earthen colors in Witness generally pure, even if the flesh tones push toward a chalky tone. That aside, the lush greenery shown throughout the Amish farmland is breathtaking material. Saturation and vibrancy impress, without losing the natural beauty.

Source material often carries a haze, softer and less defined than the norm on this format, but that’s not a complaint. That dream-like quality doesn’t post a challenge to the encode, with some 80GB+ to work with. Light grain hovers over the frame, texturing Witness naturally. In close, definition can soar, making full use of the available resolution wherever possible. Sharpness and precision impress.

The slightest detection of smearing is noticeable, if inconsistently. It’s enough to diminish the topmost layer of texture most likely, but leaves the rest alone.

A careful boost to the contrast enlivens light sources when in modern civilization, then candlelight elsewhere. The stable, thick shadows do their part, even with time and age fading them slightly; there’s enough depth to sustain Witness .

Interesting choices default to a 5.1 DTS-HD track. In addition, the disc carries two stereo tracks, one mixed for the home market, the other theatrical. Given the better spacing – specifically, the score – on the surround track, that’s a great choice for most beyond the purest of the purists. The distinctly ’80s music is able to hit peak volume without distortion. Dialog resolves cleanly and with only the slightest of age evident.

Stereos perform admirably, the split wide, and directionality captured far better than expected. Separation into the rears happens but sparingly. For instance, a train passing by follows through into the rears.

Historian Jarret Gahan provides commentary. A fresh interview with cinematographer John Seale follows, with a visual essay penned by journalist Staci Layne Wilson afterward. Harrison Ford sits down with critic Bobbie Wygant in a 1985 interview about Ford’s role.

There’s a one hour making-of split into five parts, pulled from older disc releases. Peter Weir chats in a vintage interview. His chat is followed by general EPK materials, a deleted scene, trailer, and stills. Everything is on the UHD itself in addition to the Blu-ray.

Full disclosure : This Blu-ray was provided to us for review. This has not affected the editorial process. For information on how we handle review material, please visit our about us page to learn more.

A fun slice of culture clash meets firm police drama in Witness , a unique take on the thriller genre.

User Review

The following six screen shots serve as samples for our subscription-exclusive set of 42 full resolution uncompressed 4K screen shots grabbed directly from the UHD:

Matt Paprocki

Matt Paprocki has critiqued home media and video games for 20 years across outlets like Washington Post, Variety, Rolling Stone, Forbes, IGN, Playboy, Polygon, Ars, and others. His current passion project is the technically minded DoBlu.com . You can read Matt's body of work via his personal WordPress blog, and follow him on Twitter @Matt_Paprocki .

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• Release Date: November 07 2023
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Harrison Ford (The Fugitive) and Kelly McGillis (The Accused) star as would-be lovers from two different worlds in Witness, director Peter Weir’s (Picnic at Hanging Rock) Academy Award®-winning neo-noir thriller which pits modernity against tradition.

When a young Amish boy inadvertently witnesses a brutal murder while en route to Philadelphia with his recently widowed mother, Rachel (McGillis), Detective John Book (Ford) is assigned to the case. With the perpetrators desperate to silence the sole witness, Book and his two wards are forced to hide out in the heart of the Amish community. As passions between Book and Rachel ignite, the killers close in, culminating in a dramatic, life-and-death clash of cultures that will change the lives of those involved forever.

Noted for its sensitive portrayal of the Amish community, Witness features a career-best performance from Ford, earning him an Academy Award nomination for Best Actor. Now fully restored in 4k, Witness proves as timeless as it is masterful.

• Time: 112 min.

Technical Specifications

Supplements.

• "> Brand new audio commentary by film historian Jarret Gahan
• "> Brand new video interview with cinematographer John Seale
• "> Brand new visual essay on the film’s performances by film journalist Staci Layne Wilson
• "> Vintage 1985 interview in which Harrison Ford discusses Witness with critic Bobbie Wygant
• "> Between Two Worlds - five-part archival documentary on the making of the film, featuring interviews with Harrison Ford , Kelly McGillis , Peter Weir , John Seale , producer Edward S. Feldman , and actors Lukas Haas , Patti LuPone and Viggo Mortensen
• "> A Conversation with Peter Weir - archival interview with the film’s director
• "> Two vintage Epk featurettes
• "> Deleted scene from the network Tv version of the film
• "> Theatrical trailer
• "> Image gallery
• "> Limited edition 60-page perfect bound booklet illustrated by Tommy Pocket , featuring new writing on the film by Dennis Capicik , Martyn Conterio , John Harrison and Amanda Reyes
• "> Fold-out double-sided poster featuring original and newly commissioned artwork by Tommy Pocket
• "> Six double-sided collector’s postcards

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Restoration information, release notes on restoration.

Witness Review

01 Jan 1985

112 minutes

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. 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. When the traditional gun-toting action finally arrives it’s like a rude interruption. For this is an anti-thriller, much more about love than murder.

Weir is so good at containing big stars personas, and then drawing potent performances out of them. 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 also has such a feel for unusual locations, his films never bind us to the familiar. 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. But this is not a parody, through Book’s opening eyes, it highlights a purity in their way of life. 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.

At heart, though, and heart is what matters in Weir’s films, this is a romance. Kelly McGillis and Ford create a subtle, yearning chemistry. 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. The action will arrive as the bad guys show up, and is as expertly handles as everything else in the movie, but you leave the film knowing it is about dignity, restraint, and the overriding theme in all Weir’s films, about a man who comes to know himself.

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Witness review: A hard-hitting social drama on the horrors of manual scavenging

Witness review: shraddha srinath and rohini bring a worthy watch about the horrors of manual scavenging..

Filmmaker Deepak’s Witness is one of those stories that deserves to be celebrated purely for its intent. 45 minutes into the film, the camera zooms in on a massive billboard of the Swachh Bharat Mission and quickly zooms back on a bunch of women who are cleaning the streets around midnight and talking about how they gasp for breath while on duty. Here’s a film that talks about the lives of an entire community, discriminated by their caste, that earns its livelihood from cleaning the waste around us. This is also a film where we, as a society, are witness to all the horrors that take place in the name of sanitation and human scavenging but don’t do anything. (Also read: Vadh movie review: Sanjay Mishra and Neena Gupta in a patchy yet well-acted drama about justifying murder)

The plot revolves around a mother, a sanitation worker, whose son dies while cleaning sewers in an apartment society. Convinced that her son was forced to do the job, the mother garners the help of a union worker, a lawyer and a resident of the apartment where the incident took place in her quest for justice.

The interesting aspect of the film is that it not only talks about the particular case in discussion in the story. It throws the spotlight on the state of such cases in India and how challenging it is to go against the system. In one of the most touching scenes of the movie, the lawyer tells the mother that it’s nearly impossible to win such a case and it would cost a lot. Without any regret, she says that it’s fine if she can’t win the case but she wants to see those people responsible for her son’s death to step into a court and answer why they forced a young boy to get into a septic tank. Most of these cases are usually not taken seriously as people give in for an out of court settlement. When the mother decides to fight the case, we become the witness to the challenges that usually one has to face in such cases.

The film has a very simple screenplay and sometimes feels like a documentary. Nevertheless, its intent to talk about the marginalised community fighting for justice against all odds makes it a compelling watch. Rohini, as the devastated mother fighting for justice is terrific. She proves once again why she’s one of the most versatile actors in the country today. Shraddha Srinath shines in another interesting character who, despite belonging to the urban working class, faces caste-based discrimination.

Witness, which is currently streaming on Sony Liv, will definitely go down as one of the most important films of the year.

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Witness Movie Review: A highly impactful, multi-layered social commentary

Rating: ( 4 / 5).

Debutant Deepak's Witness is a daring film for a lot of reasons. It takes manual scavenging, a rarely-discussed social issue, as its core and questions everyone in the system who are both passively and actively enabling it. In an equally daring move, the promos of the film almost gave out the entire story, including the ending. This could have been a disastrous step for any film, but Deepak manages to use it as a tool to draw the focus of the audience towards the life of its characters, without letting us worry much about the course of the rather conventional plot.

Cast: Rohini, Shraddha Srinath, G Selva, Shanmuga Raja Director: Deepak

Witness is the story of an underprivileged mother's (Rohini as Indrani) fight for justice following the death of her 20-year-old son Parthiban, who was forced into manual scavenging. Despite knowing that she is fighting an impossible battle, we root for her and the film, because of the unique writing and execution. For starters, Deepak makes us develop a strong liking for Parthiban. Be it his ever-smiling face or the warm conversations he has with his mother, everything about this person is endearing. He is probably the ideal kid every mother wishes to have. When such a noble soul is lost, it is natural for us to feel affected. Then we are introduced to the comrades supporting Indrani and the powers that be who forced Parthiban down the death pit. And finally, we have the common link, Parvathy (Shraddha Srinath), who is a conscientious inhabitant of the apartment where Parthiban's life was lost. Fascinatingly, the screenplay, written by Muthuvel, provides every main character a challenge, a want, and an arc, which complements the main narrative. The writing ensures that their paths cross each other giving rise to engaging sequences. For instance, comrade Prithviraj (an effective G Selva) and the good-natured lawyer (Shanmuga Rajan) see every positive court hearing as a trophy and celebrate the win, even as a traumatised Indrani walks out of the court not wanting to hear the details of her son's death. Though all three are inherently good people, each have a different reason to take up the case. If Prithviraj wants this case to set a precedent for other Dalit people forced into manual scavenging, the lawyer processes it as a professional success, but for Indrani, it is a very personal battle. All these minute details aren't served as expositions but are established through the adept filmmaking of Deepak, who also shot the film. Apart from its strong social message against manual scavenging, the film also registers many important issues that are the root causes of it. Be it the reckless slum clearance that forced people to migrate to the outskirts of the city to the underpayment and exploitation of sanitary workers, the writers ensure it isn't just a superficial look at a pertinent issue. Witness will be long remembered for the kind of conversations the women have in the film. Out of the several exchanges between Parvathy and Indrani, one scene that stands out is their discussion about each other's mental health. I believe scenes like these are a good start for the betterment of the writing of female characters and mental issues. It is also impressive how every character in Witness is extremely grounded. For instance, when Parvathy informs Indrani about the CCTV footage of Parthiban's death, Indrani fails to process it as a piece of evidence and instinctively wishes to see it as it has her son's face. In another court hearing, the lawyer mentions the cruelty Parthiban went through, a borderline guilt-stricken Parvathy keeps nodding her head in approval in the background. Nifty touches by Deepak ensure that we are completely invested in the hard-hitting story. It is interesting how this tightly-packed film manages to register the mundane life of Indrani. Despite being a courtroom drama, the film keeps the dialogues as minimal as possible. The measured silences prepare us for the impact of what comes next.  When Indrani looks longingly at the place where she used to live happily in the past, and says," Inga ellam apo sandhoshama irundhom, ipo vazhkaiyum odudhu naanum odren !" it is a punch to the gut. It is really heartening to see a consummate performer like Rohini finally get to play a full-fledged lead after ages. The way she process grief in the first act or the meltdown sequence in the pre-climax are just examples of the range of the actor. Shraddha, on the other hand, beautifully pulls off an intricate performance as Parvathy, who is forced to put up a brave face every single day even while longing for affection within. It is not easy to look overwhelmed and enervated for the majority of the film and yet keep the audience invested. But Shraddha does it effectively throughout. Though people may have divided opinions on the climax and the execution, I felt it was shot in a very innovative way. It leaves a strong reminder that all of us will be reduced to mere witnesses of injustice unless we join forces as a society.

'Witness' movie review: An impactful, Multi-layered social commentary

Debutant Deepak’s Witness is a daring film for a lot of reasons. It takes manual scavenging, a rarely-discussed social issue, as its core and questions everyone in the system who are both passively and actively enabling it. In an equally daring move, the promos of the film almost gave out the entire story, including the ending.

This could have been a disastrous step for any film, but Deepak manages to use it as a tool to draw the focus of the audience towards the life of its characters, without letting us worry much about the course of the rather conventional plot. Witness is the story of an underprivileged mother’s (Rohini as Indrani) fight for justice following the death of her 20-year-old son Parthiban, who was forced into manual scavenging. Despite knowing that she is fighting an impossible battle, we root for her and the film, because of the unique writing and execution.

For starters, Deepak makes us develop a strong liking for Parthiban. Be it his ever-smiling face or the warm conversations he has with his mother, everything about this person is endearing. When such a noble soul is lost, it is natural for us to feel affected. Then we are introduced to the comrades supporting Indrani and the powers that be who forced Parthiban down the death pit. We also have the common link, Parvathy (Shraddha Srinath), who is a conscientious inhabitant of the apartment where Parthiban’s life was lost.

Fascinatingly, the screenplay, written by Muthuvel, provides every main character a challenge, a want, and an arc, which complements the main narrative. The writing ensures that their paths cross each other giving rise to engaging sequences. For instance, comrade Prithviraj (an effective G Selva) and the good-natured lawyer (Shanmuga Rajan) see every positive court hearing as a trophy and celebrate the win, even as a traumatised Indrani walks out of the court not wanting to hear the details of her son’s death. All these minute details aren’t served as expositions but are established through the adept filmmaking of Deepak, who also shot the film.

Witness will be long remembered for the kind of conversations the women have in the film. Out of the several exchanges between Parvathy and Indrani, one scene that stands out is their discussion about each other’s mental health. I believe scenes like this are a good start for the betterment of the writing of female characters and mental issues. It is also impressive how every character in Witness is extremely grounded. For instance, when Parvathy informs Indrani about the CCTV footage of Parthiban’s death, Indrani fails to process it as a piece of evidence and instinctively wishes to see it as it has her son’s face. In another court hearing, the lawyer mentions the cruelty Parthiban went through, a borderline guilt-stricken Parvathy keeps nodding her head in approval in the background. Nifty touches by Deepak ensure that we are completely invested in the hard-hitting story.

When Indrani looks longingly at the place where she used to live happily in the past, and says, “Inga ellam apo sandhoshama irundhom, ipo vazhkaiyum odudhu naanum odren!” It is a punch to the gut. It is really heartening to see a consummate performer like Rohini finally get to play a full-fledged lead after ages. Shraddha, on the other hand, beautifully pulls off an intricate performance as Parvathy, who is forced to put up a brave face every single day even while longing for affection within. It is not easy to look overwhelmed and enervated for the majority of the film and yet keep the audience invested. But Sharadhha does it effectively throughout.

Though people may have divided opinions on the climax and the execution, I felt it was shot in a very innovative way. It leaves a strong reminder that all of us will be reduced to mere witnesses of injustice unless we join forces as a society.

Director: Deepak Cast: Rohini, Shraddha Srinath, G Selva, Shanmuga Raja Streaming Platform: SonyLiv Rating: 4/5

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Witness (United States, 1985)

Calling Witness a crime thriller is technically accurate, but it does this layered and dramatically compelling movie a disservice. In fact, Witness is much more than a thriller. It's a love story, a fish-out-of-water tale, and an examination of clashing cultures in a modern world. For Harrison Ford, freed from the shackles of Han Solo (although still bound to Indiana Jones), this was an opportunity to try something different. The result was one of the most nuanced and competent performances of his career. Playing John Book allowed viewers the opportunity to see Ford the actor instead of Ford the action/adventure icon. It is one of the few times he has been given the opportunity to play in a straight drama.

The year is 1984. The place is 30th Street Station in Philadelphia. In a men's lavatory, an undercover cop has his throat slit by two of his fellow officers - Detective James McFee (Danny Glover) and his associate, Detective Ferguson (Angus MacInnes). There is one witness - a young Amish boy, Samuel Lapp (Lukas Haas), who is hiding in one of the stalls. He is in Philadelphia with his mother, Rachel (Kelly McGillis), waiting for a train to take them to Baltimore. Enter Detective John Book and his partner, Detective Elden Carter (Brent Jennings), who are assigned to investigate the murder. When they learn that McFee is involved, it changes everything. Suddenly, this is no longer a simple homicide. Book confides his findings to his superior, Chief Schaeffer (Josef Sommer), only to learn that he too is involved. With nowhere else to turn, Book goes into hiding in Amish country, posing as one of the Lapp's cousins from Ohio. While there, Book recovers from a gunshot wound inflicted by McFee during an exchange of fire, and determines his next move. He also "goes native," helping out with chores around the farm, participating in building a barn, and falling in love with his attractive widowed hostess, Rebecca.

Witness began life as a fairly unremarkable police thriller; however, director Peter Weir's fascination with the Amish culture resulted in his taking the story in a more cerebral direction. There are still gunfights and an action-oriented climax, but the core of the film is about the struggles of a city man adapting to a foreign lifestyle. One could argue that there's nothing new about this plot element, but Weir's approach is unique. He treats the subject not as an opportunity for comedy (which is its most frequent application), but as a chance to explore characters and relationships. Harrison Ford was drawn to the project because it was unlike the other films he was appearing in. It gave him an opportunity to give a substantive performance without wandering too far off the beaten path.

For Weir, who had come to international notice with The Year of Living Dangerously , this was his first directorial foray outside of Australia. Ford's name on the marquee gave him considerable freedom when it came to assembling the rest of the cast. In particular, there was no pressure on him to hire well-known actors. As a result, aside from Ford, there are few familiar faces. Rachel is played by relative newcomer Kelly McGillis, who would go on to become one of the mid-'80s "it" girls after exploding into the limelight with this film and Top Gun . Alexander Godunov stepped away from ballet long enough to make his feature debut as Rachel's Amish love interest. Danny Glover, in his pre- Lethal Weapon days, is a chilling villain. There's also a small role for an unknown named Viggo Mortensen.

Some have argued that Ford gives the best performance of his career in Witness , and there's a lot of evidence to support the claim. Instead of his usual laid-back approach, Ford radiates intensity and passion, and he communicates a lot through expressions and body language rather than dialogue. The scene where Book encounters a topless Rachel is a perfect example of conveying meaning through performance. Open and unashamed, she offers herself to him. He, on the other hand, is embarrassed and uncomfortable, and turns down the offer. He later explains that if they had made love, either he would have to stay or she would have to leave. There's more to it than that, and we see it in their faces during their interaction. Witness is very much Ford's opportunity to shine as an actor, and to prove to his detractors that he could move beyond his iconic characters of Han Solo and Indiana Jones.

To prepare for her part, Kelly McGillis spent weeks living with an Amish widow and her children. She also took speech lessons. Everything paid off. Admittedly, I have had only limited experience with the Amish, but as best I can tell, her performance is note-perfect. The same degree of authenticity informs the work of Godunov, Canadian actor Jan Rubes (as Rachel's father), and Lukas Haas. No Amish appeared in the film, even in minor roles, since the Amish believe that being photographed diminishes them. (There are reports, however, that they were fascinated by the filmmaking process, and many stood and watched while Weir was shooting on location.)

Although the police story is what draws us into Witness , it's the love story that holds us there. In the great tradition of tragic romances, these two would-be lovers are doomed from the start. His world and her world are separated by a cultural and religious divide that nothing can bridge. (This is the same essential theme at the core of Brokeback Mountain .) The two can steal moments with each other, and exchange glances and even kisses, but the relationship goes unconsummated. Rachel is willing to take the step but Book is not. He knows that they have no future. Perhaps she does as well but is more willing than him to take the chance.

Witness states its position about clashing cultures with eloquence, as Book, the epitome of a tough, world-centered man, is thrown into a place where the base elements of human nature are denied. An early image in the film shows an Amish horse-drawn vehicle amidst the trappings of a modern setting. Book's gun excites both fear and curiosity. When the pacifist Amish will not defend themselves against aggressors, Book acts on their behalf, unwilling as they may be to accept his aid. He can accommodate their world for a while, milking cows and helping to build a barn. In the end, however, he can no more survive in their world than they can in his. Therein lies the doom of his relationship with Rachel. They love each other - that much is clear - but they cannot be together. The real world would destroy them. So he must return to Philadelphia and she must remain behind.

Witness contains its share of great moments. There is suspense during the murder scene, when naive Samuel must use all his cleverness to avoid exposure and death at the hands of two killers. Tension is also the hallmark of the climax, when an unarmed Book must go up against three ex-colleagues, all of whom are packing guns. The way in which he deals with one of them is the mark of a thinking hero. The scene when the topless Rachel offers herself to Book - a moment pregnant with equal parts sexual tension and awkwardness - is unforgettable not because Kelly McGillis bares her breasts but because of the way in which Weir orchestrates the encounter. Finally, the construction of the barn remains one of Witness ' hallmark sequences because it shows something that movies rarely display: the construction (not destruction) of something.

After Witness , Weir would go on to have a successful career inside and outside of Hollywood, with movies like Dead Poets Society, The Truman Show , and Master and Commander on his resume. As good as some of those titles are, the director never again achieved the mix of humanity and nature in conflict that he captures in this movie. Witness is not a perfect film, but it established Ford as an actor with range and Weir as a director who could produce more than "little" dramas set in Australia.

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Witness: Release Date, Trailer, Songs, Cast

• Release Date 9 December 2022
• Language Tamil
• Dubbed In Telugu, Malayalam, Kannada
• Genre Drama
• Duration 2h 3min
• Cast Shraddha Srinath, Rohini, Subatra Robert, Shanmuga Raja, Azhagam Perumal, G Selva, Rajeev Anand, Tamilarasan, Srinath
• Director Deepak
• Writer Muthuvel, JP Sanakya
• Cinematography Deepak
• Music Ramesh Thamilmani
• Producer TG Vishwa Prasad
• Production People Media Factory
• Certificate 16+

About Witness Movie (2022)

The brutal reality of manual scavenging engulfs another family when street sweeper Rohini's son dies while scavenging. Rohini decides to seek justice for her deceased son and is helped by Shraddha, a young woman with conscience, in her battle.

Witness Movie Cast, Release Date, Trailer, Songs and Ratings

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Around deaths that happen due to manual scavenging. Around deaths that happen due to manual scavenging. Around deaths that happen due to manual scavenging.

• Shraddha Srinath
• 5 User reviews
• 5 Critic reviews
• 1 nomination

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• Dec 14, 2022
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• December 9, 2022 (India)
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Witness Reviews

• 76   Metascore
• 1 hr 52 mins
• Drama, Suspense
• Watchlist Where to Watch

A cop investigates a murder witnessed by the son of an Amish widow in Peter Weir's study of culture clash.

Sure-footed thriller, beautifully photographed, with Ford's best performance thus far. Australian director Peter Weir's first Hollywood film examines the tenuous survival of innocence in pockets of post-war America. The story begins as Rachel (Kelly McGillis), a young Amish widow, is traveling into the city with her young son, Samuel (Lukas Haas). While they're waiting for their train in the crowded Philadelphia station, Samuel wanders into the men's room where, undetected, he witnesses a murder. Questioned by tough, cynical cop John Book (Harrison Ford), the boy identifies a narcotics officer (Danny Glover) as the killer. Suspecting a conspiracy and fearing for the safety of his young witness, Book tries to get Samuel and Rachel back to the safe obscurity of Lancaster County, home to a peaceful, idyllic community of Amish farmers. But trouble follows, even as Rachel and Book become attracted to each other. The cast is uniformly excellent, while John Seale's cinematography and Maurice Jarre's score are memorably atmospheric.

Home > Witness Ending Explained

• Witness Ending Explained
• UPDATED: September 25, 2023

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The ending of the movie “Witness” has left many viewers puzzled and seeking for an explanation. Directed by Peter Weir and released in 1985, “Witness” is a crime thriller that follows the story of an Amish boy who becomes a witness to a murder while visiting Philadelphia with his mother.

*Spoiler Alert*

In the final scenes of the film, John Book (played by Harrison Ford) confronts the corrupt police officer, McFee (played by Danny Glover), who is responsible for the murder witnessed by the young Amish boy, Samuel (played by Lukas Haas). A tense and dramatic showdown takes place inside a grain silo, where Book manages to outsmart McFee and ultimately kills him in self-defense.

Afterward, Book returns to the Amish community with Samuel and his mother, Rachel (played by Kelly McGillis). The film ends with Book watching from a distance as Rachel and Samuel reunite with their community. It is implied that Book has decided to leave behind his life as a police officer and join the Amish community.

The ending of “Witness” raises several questions about Book’s decision to abandon his previous life and embrace the Amish way of living. One possible interpretation is that Book finds solace and redemption within the simplicity and peacefulness of the Amish lifestyle. Throughout the film, he witnesses firsthand the corruption and violence that exists in his own world as a police officer. By joining the Amish community, he seeks refuge from this dark reality.

Another interpretation suggests that Book’s decision represents a desire for personal growth and transformation. Through his interactions with Rachel and Samuel, he learns about love, trust, and forgiveness – values that are deeply ingrained in Amish culture. By leaving behind his old life, Book symbolically sheds his past mistakes and embraces a new beginning.

Furthermore, Book’s decision can be seen as an act of sacrifice. By choosing to live among the Amish, he not only protects Samuel and Rachel from potential harm but also sacrifices his own desires for a peaceful and harmonious existence. This selflessness is evident in the final scene, where Book watches from afar, content with his decision.

It is important to note that the ending of “Witness” intentionally leaves some aspects open to interpretation. The film encourages viewers to reflect on their own values and beliefs, prompting questions about the nature of justice, personal identity, and the pursuit of happiness.

In conclusion, the ending of “Witness” offers a thought-provoking conclusion to a gripping crime thriller. Book’s decision to join the Amish community can be seen as a search for redemption, personal growth, and sacrifice. Ultimately, it is up to each viewer to interpret the ending based on their own understanding and perspective.

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Witness Movie Review (2022)

Deepak's well-researched 'witness', on sonyliv, is a story about manual scavenging that's more earnest than emotional.

Witness Movie Cast & Crew

The crux of Deepak's Witness is this: a teenager can be a terrific swimmer, a lifeguard at a pool. And yet, because of his caste/community, this talent of his is seen as something that will make him a good manual scavenger. Parthiban (Thamizharasan) is that teenager. He lives with his mother Indrani, who's played by Rohini with her characteristic conviction. The screenplay places them in Semmanjeri and contrasts this locality with Adyar, where the residents of an apartment complex need their septic tank unblocked and cleaned. The other contrast is that these residents are the type who say "snanam" for a bath, and propose doing a "homam" for cleansing themselves of bad vibes and sin. The sin is the death of Parthiban. And we wonder: How did this college-going boy – this lifeguard – from Semmanjeri land up all the way in Adyar for this particular job?

The unravelling of this mystery becomes the film's tool in unravelling the complex chain of command in our cities: a judge rightly calls it "passing the buck". Deepak has done his research, and it is all up there on screen, packed in the form of a long-running court case. What was once the corporation's job – like cleaning drains, or the road-sanitation work that Indrani performs – has been farmed out to private firms. And these private firms end up exploiting people from a particular community, which is not named. But the cake for Ambedkar's birthday and the Christian rituals inform us at least about Parthiban's family – that they are Dalit Christians. Another important character is Shraddha Srinath, who plays a resident in that Adyar apartment complex. She is an architect, and she helps Indrani with the case. Unlike the others in the building, here is an upper-class woman with a conscience.

We have had some excellent films, recently, that dealt with social issues: Thamizh's Seththumaan , Gautham Ramachandran's Gargi , Franklin Jacob's Writer . These are films where the filmmaking transcended the issue, where the screenplay and craftsmanship and performances helped build a complex dramatic world around the issue. But the main weapon – and the main weakness – of Witness is its earnestness. That is certainly a good quality for a film to have, but it cannot be the only one – and for all the pluses we get in the form of information, there is the nagging feeling that so much more could have been done with the narrative and the characterisation. The Shraddha Srinath character, the way she meets Parthiban, her issues with her family – none of this is convincing. And the callousness of government agencies and the powerlessness of the layman were laid out with much more emotional impact in, say, Virumandi's Ka Pae Ranasingam . What Witness does well is to remind us that a city whose population is exploding needs to invest in civic infrastructure. That is its achievement.

About Author

Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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Witness Number 3: cast, plot, and everything we know

Witness Number 3 is a four-part thriller series that has now hit Netflix.

Witness Number 3 is a four-part crime drama originally on Channel 5 and now available on Netflix, where it's topping the most-watched chart.

The thriller follows a woman named Jodie, a single mum who runs a hairdressing salon. But one day, everything changes as she becomes an important witness in a murder case.

The series was written by upcoming screenwriter Thomas Eccleshare and Diarmuid Goggins  (Silent Witness, Bulletproof)  is the director.

Here's everything we know...

Witness Number 3 release date

Witness Number 3 was originally released last year on Channel 5 and is now available on Netflix. if you don't have Netflix you can still catch it via My5 .

Meanwhile, in the US it's available on Hulu .

What is the plot of Witness Number 3?

The official plot for Witness Number 3 is: A split-second look means the life of single mum Jodie is about to go into free fall. Unwittingly, she’s the last person to witness a killer and his victim before he’s murdered. 

"After responding to a police appeal, Jodie is told her identity will be kept anonymous. And then it becomes clear why... She’s subjected to a terrifying campaign of intimidation by a gang sent to silence her, and they will stop at nothing to protect their accused boss. This claustrophobic psychological thriller asks: How far are you prepared to go to do the right thing?"

Who's in the cast of Witness Number 3?

Bodyguard star Nina Toussaint-White leads the cast as Jodie. Sion Daniel Young ( Deceit ) plays P.C Ivan Barkas, who is assigned to protect Jodie when she becomes the significant witness. 

Clare Dunne ( Kin ) stars as Detective Whelan, an officer investigating the murder. Ruaridh Mollica ( Stonemouth ) is Po, one of the local gang members terrorizing Jodie and her family.

Finally, Sue Johnston ( The Royle Family ) is Jodie’s mother Cathy, with whom she has a close-knit relationship and newcomer Cole Martin is Kyle, Jodie’s son.

Is there a trailer?

Yes, here you go...

What happens in the opening part?

In the first episode of Witness Number 3 , we follow single mum and salon owner Jodie Packer (Nina Toussaint-White), whose life is turned upside down when she’s targeted by a violent gang after she witnesses a murderer and his victim moments before the killing took place.

Jodie heads to the station in the early moments of episode one, where she goes over her statement with a police officer and learns her name and address has been removed. She asks why, but is dismissed and told the process is "very common" and she's simply known as "Witness Number 3".

She tries to continue on with her day job as normal, running her salon and being a mother to her son, but her life is soon in danger after the gang launches a terrifying campaign of intimidation against her for going to the police.

Jodie encounters a young man outside a housing estate, who claims he needs to use her phone to contact his brother as he’s been locked outside his flat. After apparently getting no response he gives the phone back, and watches Jodie and her son for a moment before walking off.

Later, a call comes into the hair salon but no one answers the phone, which only adds to Jodie’s paranoia following the events of the previous evening before she heads down to the station again where she’s asked to look at a line-up of suspects and say if she recognises any of them. It is later confirmed she identified the same man the police have in custody.

Following this, Jodie is told she has become a “significant witness” and that her statement will be used to help build the case and she meets with PC Ivan Barkas, who is her witness contact, but so far viewers are very suspicious of him.

Jodie begins to receive disturbing videos and sees the gang outside of her salon, causing her paranoia to increase even more but she continues to work with the police, helping to build the case and identify key information.

While at home with her family, Jodie begins to receive more and more threatening messages, including footage of her at home and footage of her walking her son to school, so it becomes clear everyone around her is now in danger... and it's even more upsetting when she finds out her late husband could be linked to gang activity.

 PC Ivan agrees to monitor her flat and breaks the news that the other two witnesses "are out" and can't be used, but could that put her in more danger?

The episode ends with the gang completely trashing Jodie's salon, but it's clear that's just a warning and they're prepared to do much more than that...

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Lucy joined the WhatToWatch.com team in 2021, where she writes series guides for must-watch programmes, reviews and the latest TV news. Now she works for our sister site TechRadar in the same role. Originally from Northumberland, she graduated from Oxford Brookes University with a degree in Film Studies and moved to London to begin a career writing about entertainment.

She is a Rotten Tomatoes approved film critic and has a huge passion for cinema. She especially loves horror, thriller and anything crime-related. Her favourite TV programmes include Inside No 9, American Horror Story , Stranger Things and Black Mirror but she is also partial to a quiz show or a bit of Say Yes to the Dress ! 

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'Khel Khel Mein' Review: Akshay Kumar shines in this game of love and betrayal

Akshay kumar leads a colourful cast in 'khel khel mein', a game of love, trust and betrayal. while the film takes its own sweet time to bloom, it is a clean comedy that doesn't rely on double-meaning one-liners, says our review..

Listen to Story

• 'Khel Khel Mein' is a desi adaptation of the 2016 Italian comedy-drama, 'Perfect Strangers'
• Akshay Kumar excels in his comic role, supported by Taapsee Pannu and a diverse cast
• The story revolves around three couples who reveal their secrets through a twisted game involving their phones

Cast & Crew

Akshay Kumar

Taapsee Pannu Actor

Release Date: 15 Aug, 2024

Filmmaker Mudassar Aziz’s ‘Khel Khel Mein’ is a desi adaptation of the 2016 Italian comedy-drama, ‘Perfect Strangers’. What makes ‘Khel Khel Mein’ different from the original film is the colourful cast, lead by Akshay Kumar who gives the film its most comic moments.

For an actor labelled 'Khiladi Kumar', it is incredibly satisfying to see him excel at a genre like comedy that he seems to have a natural flair for. The film also stars Taapsee Pannu, who finally breaks her serious mould and makes us want to tell her to fetch more comedy scripts.

‘Khel Khel Mein’ is a tale of trust, belief, love and betrayal. The film revolves around the idea of surrendering your phones to your better halves in the hope that you don’t have anything to hide. Akshay is paired with Vaani Kapoor, Ammy Virk with Taapsee Pannu and Aditya Seal, with Pragya Jaiswal.

It’s a story of three couples who land up at a wedding. They also have a bachelor friend played by Fardeen Khan, who has been cast in a completely unexpected role. As a part of a twisted game, these characters offer to keep their phones on a table with the condition that they will be transparent with every call or message that comes their way. If they have nothing to hide, they don’t need to worry. But worry they must, because there is more than what meets the eye on the surface. Beneath their veiled smiles and disguised greetings, are secrets that are simmering at the surface, waiting to break out.

The premise of ‘Khel Khel Mein’ is engaging. But what makes it watchable is the way Mudassar made the characters' fears, worries and insecurities relatable. The first half is lazy and takes its own sweet time to give us the backstories of these characters. Some of these stories are engaging. Others, quite boring.

Fortunately, the topics that the film highlights don’t limit themselves to the four walls of a marital setup. Mudassar brings in subjects like sexuality, and abusive work relationships, and handles it sensitively.

Akshay puts his charm on and gives you fleeting glimpses of his performances in ‘Welcome’ and ‘Hera Pheri’. Taapsee is superb as the timid Punjabi homemaker who lets loose when she is faced with an odd situation. Fardeen has a totally different role which he aces beautifully. Vaani and Pragya are good, while Aditya and Ammy get a few juicy scenes to make the most of.

‘Khel Khel Mein’ is a watchable family entertainer with a message. If you are looking for a clean comedy that doesn’t rely on double-meaning and innuendo-laden one-liners, this is the ticket to buy this Independence Day. Published By: Anindita Mukhopadhyay Published On: Aug 14, 2024 ALSO READ | Akshay Kumar's 'Khel Khel Mein' gets U/A certificate, to have runtime of 134 mins

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Jackpot! the most action-heavy movie for actress Awkwafina, kicked off her fitness journey

LOS ANGELES – The action comedy Jackpot! stars American actress-comedienne Awkwafina as a woman who wins billions in a lottery and enlists a bodyguard (played by John Cena) to stop people from killing her for her winnings.

For the action scenes, director Paul Feig took inspiration from the physical comedy of Hong Kong action star and martial artist Jackie Chan, who is known for incorporating humour into adrenaline-pumping fights and stunts.

Available on Prime Video from Aug 15, the movie is set in a dystopian near future in which California has come up with a new kind of lottery. If anyone can kill the winner before sunset, he or she can legally claim the multi-billion-dollar prize.

So, when down-on-her-luck actress Katie (Awkwafina) accidentally finds the winning ticket, she has little choice but to hire lottery protection agent Noel (Cena) to defend her from the hordes of people now coming after her.

“I’m such a Jackie Chan fanatic,” says Feig, the 61-year-old American film-maker who directed comedies such as Ghostbusters (2016), The Heat (2013) and Bridesmaids (2011).

“I love Hong Kong cinema in general, and just anything martial arts,” he tells The Straits Times in a Zoom interview alongside Awkwafina.

“But Jackie’s movies are so much fun because he’s not going into a fight looking to kill somebody. He’s trying to get out of it, and he’s in over his head,” he says of 70-year-old Chan, who starred in Hong Kong films such as Drunken Master (1978) and Police Story (1985) and the Hollywood movies Rush Hour (1998) and Shanghai Noon (2000).

“So, when I read this script, it was like, ‘This is the Jackie Chan movie that I’ve always wanted to make.’

“Katie gets thrown into something, she has no idea what’s happening and, suddenly, everyone wants to kill her,” says Feig, who also directed the crime thriller A Simple Favor (2018) and created the cult comedy series Freaks And Geeks (1999 to 2000).

The lottery rules state that no one can use guns to kill, which forces the attackers – and Feig – to get more creative.

“With the fact that there are no guns in the movie, I knew it could be really fun, because you’re just fighting off physical attacks all the time,” he says.

Awkwafina, who made her name with the romantic comedy Crazy Rich Asians (2018), says this is the most action-heavy role she has done.

“And I loved all of it,” she says of the fight scenes and action set pieces she did with 47-year-old Cena, an American former professional wrestler.

It also whipped her into shape.

“Jackpot! did kick off my fitness journey,” says the 36-year-old of Chinese and Korean descent, who won a Best Actress Golden Globe for the comedy-drama The Farewell (2019).

“I really did not understand what anything was. I still don’t know what pilates is,” jokes the star, who also appeared in the superhero movie Shang-Chi And The Legend Of The Ten Rings (2021) and the comedy films Quiz Lady (2023) and Renfield (2023).

“But this is the most action-y movie I’ve done, especially in terms of training.

“We had an amazing stunt team and we ran through the fight scenes a week before, so it was nice that they were muscle memory at a certain point.”

And Feig thinks Awkwafina should do more Jackie Chan-type action roles.

“Nothing would make me happier than if you were the new action star,” he says to his leading lady.

“Well, there would be a vast number of skills that I would have to learn,” she replies, laughing.

“We’ll get her in training. Maybe there are some monks who will teach you,” Feig quips.

But action comedies like this work only “as long as they’re funny and character-based and drive the story forward”, he adds.

“I’m very much not a fan of just mayhem, which I always define as watching an action movie, looking over at my wife and seeing that she’s just on her phone.

“I go, ‘Do you know how hard it was for them to shoot that?’ And she goes, ‘I know, but I don’t care. It’s just people running around.’

“And that’s right,” Feig says. “You have to be attached to the character.”

• Jackpot! premieres on Prime Video on Aug 15

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