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.

"Proof" stars two great Australian actors, "Hugo Weaving" and "Russell Crowe" who relatively unknown during this movie, went on achieve great heights in Hollywood."Proof' is about a blind man(Hugo Weaving) who strikes up an unusual friendship with a waiter(Russell Crowe),something scorned by Hugo's maid(Genevieve Picot).

Even with a running time of ~90 minutes, "Proof" can be very slow from time to time, but that's the way the Director wants the audience to feel for the protagonist. The way he feels things around him, the way he walks, the way he talks, his expressions, his unconvincing nature; Hugo Weaving gives the near-perfect performance of a blind man. Russell Crowe exhibits great flair playing a man torn between his friendship with Hugo Weaving and his love life with Genevieve Picot.

The best thing about this movie is its unique script and the way the story unfolds due to small lies and betrayal. The way every character is torn between two aspects of their life is beautifully captured by the Director. The ending is very good and the flash backs of Hugo's childhood are placed appropriately placed throughout the movie, helping to delve deeper into Hugo's character.

Overall, watch this movie, as it offers a unique movie experience. To see two great actors initial movie work is sure to delight a lot of people.

My Verdict: 8/10

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.

Proof is a subtle little gem of a film that gets under your skin, forcing multiple viewings. I love movies that have a minimal amount of characters who interact in complex ways, and this film delivers that beautifully. NOT a comedy, as it states on the video box, although it does have very witty and clever moments to spare.

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