It’s not just an ending that Mute Witness has. Style. Thrills. Chills. Plucky Hero. Adroit Storytelling. Sir Alec Guinness. Sir. Alec. Guinness!!!! Just about everything you could want from a slickly produced horror film.
A cheaply made horror film is being produced in Russia. The director Andy (Evan Richards) has enlisted his girlfriend Karen’s (Fay Ripley) mute sister Billy (Marina Zudina) to do the special-make-up effects, on the cheap. One night while Billy is cleaning up, she witnesses a Snuff Film being made. She narrowly escapes the producers of this abhorrent movie but is now their target as she has more than witnessed their act. Billy has something that proves who The Reaper (Alec Guinness) the mastermind behind these “films” and his associates are.
Mute Witness is a level above even the best slashers as there is a unique visual style that informs the scares and thrills. Adding that the film’s story is not a mere excuse for horror set pieces. The construction of the film itself is as clever as its execution. Every bit of storytelling informs on the ever-increasing horrifying situation Billy is in. Even something as simple as your standard “break-in” is given a fresh take when considering how Billy can’t call for help and when she does it is done in a unique way. So unique that Scream all but lifted the entire idea for a similar sequence.
All of which leads to a fascinating finale and that ending. So, few films, less horror films can land an ending or more to the point know when to end a film. Mute Witness knows exactly when to cut to black. This mere fact alone should have given writer/Director Anthony Waller a huge career in film. It did not and Mute Witness somehow became a unique slasher only the most lucky discovered.
Hopefully, this release will correct those errors.
The Transfer
The all-new 4K restoration approved by director Anthony Waller is a minor miracle. The film glows on 4K UHD with the HDR10 giving the film’s contrast levels a beautiful luminous dark glow (the film primarily at night). The film’s muted color palette is accurately represented here. There isn’t a scratch, dust, or blemish throughout the runtime of the film. The black levels are a marvel with none of the dreaded “crushed blacks” that can sometimes happen on lower-budget productions when they’re given the deluxe treatment. This may be one of the best reproductions of the filmic look of the 1990s Arrow Video has done for their 4K UHD releases.
The Extras
The Limited Edition Packaging includes the following – Reversible sleeve featuring original and newly commissioned artwork by Adam Rabalais; a Double-sided foldout poster featuring original and newly commissioned artwork by Adam Rabalais; an Illustrated collector’s booklet featuring new writing on the film by Michelle Kisner
They include the following;
Brand new audio commentary by writer/director Anthony Waller
Brand new audio commentary with production designer Matthias Kammermeier and composer Wilbert Hirsch, moderated by critic Lee Gambin
The Silent Death: Snuff Films and Mute Witness, brand new visual essay
The Wizard Behind the Curtain: Films within Films and Mute Witness, brand new visual essay
Original “Snuff Movie” presentation
Original location scouting footage
Original footage with Alec Guinness
Teaser trailer
Trailer
Image gallery
The first of two commentaries is an all-new audio commentary by writer/director Anthony Waller. Some of the details include the production design of the apartment that is in Russia but supposed to be set in America – a larger discussion of the film-within-a-film conceit; a great anecdote about the Cannes screening of the film; the language barrier and translators they had on set – as the majority of the production was done in Moscow Russia; how he was able to get the ASL for all of the lines Billy’s lines; the fact he wanted Arnold Schwarzenegger for a cameo; how he learned Russian during the three month production – but a funny notion about “what” kind of Russian he learned during that time; the reasons why he chose to not subtitle the film (for the most part); the snuff film sequence – including casting the actors and the notion of reality within the scene and how that was built; the widescreen photography and how this was loss during the initial VHS release (which was pan and scan) during the late 90s – and how this affected some of the best sequences; a discussion of a specific actor that was a problem because of his substance addiction; how he came up with the idea/concept for the film itself; the trouble with the timeliness of actors – including the lead – and the reasons why for the “tardiness”; the realities of the crew not showing up and the reasons why after lunch the crew was so slow; the need for audience test screenings – especially in horror films; they various casting what if’s and the reasons they turned them down – including some quite now-famous actors; a detailed discussion about how he got Alec Guinness for the role, how difficult the scene was to film – getting everything together in less than a few hours (8 years prior to the actual production), and how he got the footage released and used in the film; a great larger discussion of the various issues that the production faced as a non-Russian production inside of Russia; a larger discussion about the difference between location and what was shot in studio at the famous Mos Studios in Moscow; and much more. Waller provides a very honest and informational commentary track. Anyone who has a passing interest in the film will want to dive into this track as his anecdotes give even further appreciation of what Waller pulled off with the film.
The second of the all-new audio commentaries is with production designer Matthias Kammermeier and composer Wilbert Hirsch, moderated by critic Lee Gambin. It opens with the amazing story of how Mute Witness came to be (it is a lengthy account that includes the entire story of how Guinness came to be in the film). Some of the details include a discussion of Hirsch’s score that is very different in the opening moments (the film-within-a-film) and how that is very different from the rest of the score; a detailed discussion of how production designer Kammermeir approached the look of the film – including keeping Moscow in mind as they began to design the film; a detailed account from both Kammermeir and Hirsch of the difficulties working in Russia on a film production in the 1990s – they were one of the first, if not the first by their account – and covers everything from the visa process, translators issues, lack basic materials that modern film productions used, a major political incident that almost caused the collapse of the production; and much more. The late great Gambin as always the case with all his work delivers an entertaining and informative track that is very different than Waller’s and provides very different anecdotes and details from the production. Kammermeier and Hirsch are very open about the production and their contribution to the production.
The Silent Death: Snuff Films and Mute Witness (11:33) – is an all-new visual essay by critic Alexandra Heller-Nicholas, examining Mute Witness and its place in the sub-genre of behind-the-scene of a film production and the urban legend of snuff films or as she called Snuff Fiction sub-genre. Heller-Nicholas does a great job of discussing what a “snuff film” is, its impact on society, and feature films. Heller-Nicholas does a great job of not just dissecting the genre but giving us some truly great examples of the films of the genre but mainly at the service of discussing Mute Witness. The essay also dives deep into the various films that Waller appears to be inspired by visually and thematically. The visual essay as with all of Heller-Nicholas’s work is wonderfully edited and composed giving us some great insight into the themes and work done in Mute Witness.
The Wizard Behind the Curtain: Films within Films and Mute Witness (23:23) – is an all-new visual essay by critic Chris Alexander, exploring the phenomenon of the film-within-a-film and where Mute Witness lands in the sub-genre. Alexander gives us a run-down of the various film-within-a-film within the different genres these films take place. The films that are covered are also self-referential as well as the film-within-a-film with films like F/X, Body Double, Scream, Effects, Demons, Diary of the Dead, and so much more. The only complaint is that there is no real discussion about Mute Witness and where it falls in the pantheon of these films or critical observations about the film and these when compared.
Original “Snuff Movie” presentation (25:08) – this “proof of concept” reel which predates Style Book Presentations (which are an industry norm now) was specifically created to generate interest from investors and distributors who could invest. The 25-minute reel uses various scores, imagery, scenes from the sci-fi film The Noah’s Ark Principle (which the group produced), Waller’s early shorts, and interviews to piece together what the film is about and the filmmaker’s intent and the overall style of the piece (if produced). This featurette is pulled from a VHS copy it appears, as the quality of the image will show. Featuring interviews with Anthony Waller, producer Werner Koenig, composer/sound designer Wilbert Hirsch, editor Peter Adam, production designer Matthias Kammermeier, and members of the creative team
Original location scouting footage (7:30) – the video footage shot in and around Boston looking for sites that could double for Moscow. The scariest part is that most of the locations look exactly the way they do in the film with little to know “dressing” in the film. Note the footage is presented with the live sound from the video and no commentary or context added in.
Original footage with Alec Guinness (2:41) – pulled from what appears to be an AVID/VHS rip of the all-too-brief footage which consists of two different takes/setups of Guinness doing essentially the same bit of dialog. The footage is amazing in the fact that it was filmed more than 10 years before to the rest of Mute Witness was in production.
Teaser trailer (1:09)
Trailer (1:47)
Image gallery – consisting of seven production stills that can be navigated by using your next and back chapter stop buttons on your remote.
The Final Thought
Arrow Video has done amazing work with their 4K Restoration of Mute Witness. Highest Possible Recommendations!!!
Filmmaking and Murder collide in Anthony Waller’s clever Mute Witness. Arrow Video has done a marvelous job with their overstuffed 4K UHD edition.
The Film
Damn, that ending. That’s an ending.
It’s not just an ending that Mute Witness has. Style. Thrills. Chills. Plucky Hero. Adroit Storytelling. Sir Alec Guinness. Sir. Alec. Guinness!!!! Just about everything you could want from a slickly produced horror film.
A cheaply made horror film is being produced in Russia. The director Andy (Evan Richards) has enlisted his girlfriend Karen’s (Fay Ripley) mute sister Billy (Marina Zudina) to do the special-make-up effects, on the cheap. One night while Billy is cleaning up, she witnesses a Snuff Film being made. She narrowly escapes the producers of this abhorrent movie but is now their target as she has more than witnessed their act. Billy has something that proves who The Reaper (Alec Guinness) the mastermind behind these “films” and his associates are.
Mute Witness is a level above even the best slashers as there is a unique visual style that informs the scares and thrills. Adding that the film’s story is not a mere excuse for horror set pieces. The construction of the film itself is as clever as its execution. Every bit of storytelling informs on the ever-increasing horrifying situation Billy is in. Even something as simple as your standard “break-in” is given a fresh take when considering how Billy can’t call for help and when she does it is done in a unique way. So unique that Scream all but lifted the entire idea for a similar sequence.
All of which leads to a fascinating finale and that ending. So, few films, less horror films can land an ending or more to the point know when to end a film. Mute Witness knows exactly when to cut to black. This mere fact alone should have given writer/Director Anthony Waller a huge career in film. It did not and Mute Witness somehow became a unique slasher only the most lucky discovered.
Hopefully, this release will correct those errors.
The Transfer
The all-new 4K restoration approved by director Anthony Waller is a minor miracle. The film glows on 4K UHD with the HDR10 giving the film’s contrast levels a beautiful luminous dark glow (the film primarily at night). The film’s muted color palette is accurately represented here. There isn’t a scratch, dust, or blemish throughout the runtime of the film. The black levels are a marvel with none of the dreaded “crushed blacks” that can sometimes happen on lower-budget productions when they’re given the deluxe treatment. This may be one of the best reproductions of the filmic look of the 1990s Arrow Video has done for their 4K UHD releases.
The Extras
They include the following;
The first of two commentaries is an all-new audio commentary by writer/director Anthony Waller. Some of the details include the production design of the apartment that is in Russia but supposed to be set in America – a larger discussion of the film-within-a-film conceit; a great anecdote about the Cannes screening of the film; the language barrier and translators they had on set – as the majority of the production was done in Moscow Russia; how he was able to get the ASL for all of the lines Billy’s lines; the fact he wanted Arnold Schwarzenegger for a cameo; how he learned Russian during the three month production – but a funny notion about “what” kind of Russian he learned during that time; the reasons why he chose to not subtitle the film (for the most part); the snuff film sequence – including casting the actors and the notion of reality within the scene and how that was built; the widescreen photography and how this was loss during the initial VHS release (which was pan and scan) during the late 90s – and how this affected some of the best sequences; a discussion of a specific actor that was a problem because of his substance addiction; how he came up with the idea/concept for the film itself; the trouble with the timeliness of actors – including the lead – and the reasons why for the “tardiness”; the realities of the crew not showing up and the reasons why after lunch the crew was so slow; the need for audience test screenings – especially in horror films; they various casting what if’s and the reasons they turned them down – including some quite now-famous actors; a detailed discussion about how he got Alec Guinness for the role, how difficult the scene was to film – getting everything together in less than a few hours (8 years prior to the actual production), and how he got the footage released and used in the film; a great larger discussion of the various issues that the production faced as a non-Russian production inside of Russia; a larger discussion about the difference between location and what was shot in studio at the famous Mos Studios in Moscow; and much more. Waller provides a very honest and informational commentary track. Anyone who has a passing interest in the film will want to dive into this track as his anecdotes give even further appreciation of what Waller pulled off with the film.
The second of the all-new audio commentaries is with production designer Matthias Kammermeier and composer Wilbert Hirsch, moderated by critic Lee Gambin. It opens with the amazing story of how Mute Witness came to be (it is a lengthy account that includes the entire story of how Guinness came to be in the film). Some of the details include a discussion of Hirsch’s score that is very different in the opening moments (the film-within-a-film) and how that is very different from the rest of the score; a detailed discussion of how production designer Kammermeir approached the look of the film – including keeping Moscow in mind as they began to design the film; a detailed account from both Kammermeir and Hirsch of the difficulties working in Russia on a film production in the 1990s – they were one of the first, if not the first by their account – and covers everything from the visa process, translators issues, lack basic materials that modern film productions used, a major political incident that almost caused the collapse of the production; and much more. The late great Gambin as always the case with all his work delivers an entertaining and informative track that is very different than Waller’s and provides very different anecdotes and details from the production. Kammermeier and Hirsch are very open about the production and their contribution to the production.
The Silent Death: Snuff Films and Mute Witness (11:33) – is an all-new visual essay by critic Alexandra Heller-Nicholas, examining Mute Witness and its place in the sub-genre of behind-the-scene of a film production and the urban legend of snuff films or as she called Snuff Fiction sub-genre. Heller-Nicholas does a great job of discussing what a “snuff film” is, its impact on society, and feature films. Heller-Nicholas does a great job of not just dissecting the genre but giving us some truly great examples of the films of the genre but mainly at the service of discussing Mute Witness. The essay also dives deep into the various films that Waller appears to be inspired by visually and thematically. The visual essay as with all of Heller-Nicholas’s work is wonderfully edited and composed giving us some great insight into the themes and work done in Mute Witness.
The Wizard Behind the Curtain: Films within Films and Mute Witness (23:23) – is an all-new visual essay by critic Chris Alexander, exploring the phenomenon of the film-within-a-film and where Mute Witness lands in the sub-genre. Alexander gives us a run-down of the various film-within-a-film within the different genres these films take place. The films that are covered are also self-referential as well as the film-within-a-film with films like F/X, Body Double, Scream, Effects, Demons, Diary of the Dead, and so much more. The only complaint is that there is no real discussion about Mute Witness and where it falls in the pantheon of these films or critical observations about the film and these when compared.
Original “Snuff Movie” presentation (25:08) – this “proof of concept” reel which predates Style Book Presentations (which are an industry norm now) was specifically created to generate interest from investors and distributors who could invest. The 25-minute reel uses various scores, imagery, scenes from the sci-fi film The Noah’s Ark Principle (which the group produced), Waller’s early shorts, and interviews to piece together what the film is about and the filmmaker’s intent and the overall style of the piece (if produced). This featurette is pulled from a VHS copy it appears, as the quality of the image will show. Featuring interviews with Anthony Waller, producer Werner Koenig, composer/sound designer Wilbert Hirsch, editor Peter Adam, production designer Matthias Kammermeier, and members of the creative team
Original location scouting footage (7:30) – the video footage shot in and around Boston looking for sites that could double for Moscow. The scariest part is that most of the locations look exactly the way they do in the film with little to know “dressing” in the film. Note the footage is presented with the live sound from the video and no commentary or context added in.
Original footage with Alec Guinness (2:41) – pulled from what appears to be an AVID/VHS rip of the all-too-brief footage which consists of two different takes/setups of Guinness doing essentially the same bit of dialog. The footage is amazing in the fact that it was filmed more than 10 years before to the rest of Mute Witness was in production.
Teaser trailer (1:09)
Trailer (1:47)
Image gallery – consisting of seven production stills that can be navigated by using your next and back chapter stop buttons on your remote.
The Final Thought
Arrow Video has done amazing work with their 4K Restoration of Mute Witness. Highest Possible Recommendations!!!
Arrow Video’s 4K UHD Edition of Mute Witness is out now.
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