Proof

This deliciously enticing bit of cinema from Down Under revolves around the activities of three people: A mistrustful blind man, a desperate, love-hungry woman, a misguided young man, and what happens when these three paths intersect.

Martin is a misanthropic blind man, whose unshakable mistrust of humanity compels him to compulsively take photographs of everything around him. So deeply-rooted is his paranoia that he believes his own mother rejected him because of his handicap, and so deceived him in her descriptions of the world. Martin took a picture--his first--of a garden his mother customarily described to him, as evidence that she had lied.

Martin's paranoia that anyone might be lying to him has shaped the rest of his life, growing up to become uncompromising and fiercely independent. He behaves callously in his only human interaction--with his rancorous housekeeper, Celia. Celia is obsessively, possessively in love with Martin. But their relationship is a prickly one, marked with cruelty and malice on both parts. Martin, aware of Celia's desire for him, uses the knowledge as a weapon--tormenting her by keeping her on, but rebuffing her attempts. In return, Celia spitefully rearranges the furniture so Martin will run into it and exploits his dependency on her to boost her own ego.

Years later, Martin is still a photographer, but now he wants someone he can trust to describe his first photo to him, thus giving him the 'proof' of a long-dead mother's love.

This someone happens to be Andy, a dishwasher at a local restaurant. But when Andy threatens to become too great an influence in Martin's life, Celia, feeling her territory has been violated, sets out to discredit Andy--using her sexuality to control both men.

"Proof" could all so easily have slipped into melodramatic theatrics, but the film skips nimbly along the line, managing to evade all potential traps. Most of the credit is due to the adroit, agile script and the outstanding performances from the cast.

Jocelyn Moorhouse, the film's director and writer, has the innate gift of comprehending, capturing, and conveying the human condition so aptly, so that the audience is deftly drawn into these characters' lives. The film doesn't rely on a contrived plot to induce interest; these ordinary characters are intrinsically fascinating simply because of who they are.

The acting is superb, making for a fabulous ensemble piece. Hugo Weaving renders a thoughtful performance as Martin, convincingly portraying a man who has closed himself off so effectively against the possibility that he might get hurt, that he has cut off the possibility of feeling. Genevieve Picot is likewise excellent, marvelously calculating, yet vulnerable as Celia. And Russel Crowe radiates an already unmistakable and irresistible charisma on-screen in this early role as Andy. His easy-going, honest, bloke-next-door charm is utterly appealing--a far cry from later roles in "L.A. Confidential" and "Gladiator", showing his incredible acting range.

This diabolically clever, enormously witty, and refreshingly original film can be hilariously funny at some times, genuinely heart-rending at others, and an all-round brilliant bit of cinema. Well-worth a look.

For my Social Psychology class, my teacher showed this movie for one of our first lessons. The point of the movie was to not look at Martin, the main character, as a blind man, but as a fully capable person who was incidentally blind.

Martin, the main character, is a blind man who uses a camera and pictures as his "eyes," trusting the character of Andy to faithfully describe these pictures so that Martin can "see" them. However, trust doesn't come easily to Martin, who doubts many people in his life including his housekeeper, Celia, who is madly in love with him, and even his own Mother, who through flashbacks we see was never really trusted. Martin giving his trust to Andy, someone he barely knows, makes Celia angry and sets off a chain of events.

The story evolves from there, each scene an important piece of the puzzle (which is refreshing, no scenes are put there just to be there). The main theme of this movie is the element of trust, which Martin seems to lack, Andy seems eager to give, and Celia wants to receive.

Looking at Martin as a person, not as a blind man, makes this movie all the more rich. Martin is easily related to - Trusting someone and expecting honesty is something we all want. Similarly, Martin wants control of his life (and is by all means capable of it), but he still has that element of vulnerability, despite how much he tries to deny it. Martin must also accept the fact that people are not always perfect. They lie sometimes, and sometimes that's okay.

All in all, this movie is amazingly crafted, well written, and funny.

Goodness, this is a terrific movie! I was lucky to get my hands on it, as it has VERY limited access where I'm from. If you can get your hands on this film, buy it! And if you don't like it....give it to me! ok, lol.

Proof is not a comedy. It is not even a black comedy (or black, BLACKEST comedy) though it has some moments that will make you laugh or smile broadly ("You killed ugly!"). It isn't a movie so heavy either that you'll feel like someone's been slapping you throughout the film either. It is very poignant, often surreal, but very, very intelligent. Proof is a very complex movie. In other words, you can't label the characters, 'evil' or 'good' and be done with it. You got to look deeper, and the actors subtly bring it out to an external medium and you'll see it. You just gotta remember to open your eyes.

Hugo Weaving was amazing here. In fact they were all good! Including the dog. Weaving really makes you think he's a blind person, and I almost thought for a second he was until I heard "Mr Anderson" ringing in my head again.

Proof is probably the movie that comes closest to reality in people's lives. And the drive-in scene is priceless.

I just watched on video "Proof", a 1991 film from Australia that seemed like it would be a comedy about a blind man who takes pictures to "prove" the experiences he has had in life. This film was many things - unique, subtle, intriguing, and a very interesting look at the psychology of human interaction - but I fail to see how it was a "comedy", not that that at all detracts from this good film!

The main character, Martin (Hugo Weaving; flashback scenes from when he was perhaps eight or nine years old played by Jeffrey Walker) is blind from birth and, though it isn't really explained how, develops a distrust of people, including his Mother (Heather Mitchell). He starts taking pictures to prove that in fact he is experiencing what others say he is; as an adult, it becomes compulsive.

The problem in "proving" one's experiences in this way is that it relies on a sighted person to detail the pictures, and Martin finds such a trusted friend in Andy (Russell Crowe). Celia (Geneviève Picot) has an unhealthy relationship with Martin, frustrated as his housekeeper who loves him, but who gets only cruel coolness from Martin. In jealousy and anger, she attempts to disrupt the friendship that Martin and Andy have begun.

I liked this quite unique film that really doesn't fit any easy categories, except perhaps as a quirky low-key drama. It was very interesting to have a deep focus on just three characters (and just a few other minor ones, including the guide dog Bill).

To be a little critical, I found it a bit difficult to believe that Martin had such a seemingly unfounded distrust of people, as all of the flashbacks to his childhood seemed to show his Mother loving and not misleading her son. Celia's motivation for love after working for years as Martin's help and nothing more was a little difficult for me to understand. I really liked Andy, but didn't understand his motivation either to so quickly agree to be the photo interpreter and then dive into a friendship.

That said, "Proof" was a pleasure to watch. It was almost surreal in a sense, and quirkily fun to see the characters interact. The film dealt in an interesting way with the principles of honesty and trust. I would like to see the film again soon, and suspect it will be even more interesting in the second viewing.

--Dilip Barman, May 8, 2004

Aussie Films are much like the Ford Motor Company. They're either a world beater - or mainstream mediocrity! This little offering is the Shelby Mustang of 90's movie-making.

Weaving is spellbinding (FORGET Agent Smith of THE MATRIX) as a blind photographer who has this unshakeable belief that people lie to him because of his blindness. His world revolves around photographs that others must visually interpret for him. He has a housekeeper that wishes she could do more than housekeep and the day he meets Andy, a dishwasher at the local restaurant, is the first day of a new beginning...but for who?

Suffice to say, Crowe as Andy shows all the portents of future stardom simply by being Russell Crowe. He is superb without really doing anything. For just a three character film, this is spellbinding stuff (much like THE INTERVIEW).

No more need be divulged. I would simply say this is one of the best films I have ever seen. It deserved every award it won. This is a 10! See it!