Proof is an outstanding film that few people have even heard of, especially in the U.S. There are a few SPOILERS that follow, but I'll try not to reveal too much.
The plot of Proof is simple: A blind photographer (Martin) is obsessed with taking pictures to prove that what he senses it the truth. Numerous flashbacks of Martin's childhood indicate that his mother may have lied to him repeatedly. This is the emotional root of his pathological distrust of everyone. As a child, Martin's first photo reveals definitively whether his mother was in fact lying. Now, he must find someone he can trust to describe it for him.
Martin's life revolves around two other characters (well, three if you include Bill, the canine). First, Celia is his pernicious housekeeper with an obsessive love for Martin. The relationship operates in a vicious circle; Martin knows of Celia's feelings and uses this as a weapon to torment Celia. Celia resents this and vindictively torments Martin. This circle is the source of some fascinating dark humor. Later, Martin forms a friendship with Andy. Seemingly honest and forthright, Andy describes Martin's photos for him. Celia feels threatened by Andy, feeling that her territory (Martin) is being violated. Celia uses her sexuality to manipulate Andy to lie to Martin. Celia subsequently reveals Andy's lie to Martin in an attempt to destroy their friendship. In the final scene, Andy describes Martin's first photo for him (like Martin, we never actually see it).
The simple plot and limited number of characters allow Martin, Celia, and Andy to develop a triangle of emotional depth and resonance. Proof is psychologically complex and multi-faceted, requiring undivided attention. It is about the fragility of true friendship, betrayal, obsession, forgiveness and ultimately accepting the indefinite nature of truth. Proof evokes a full spectrum emotions, often being simultaneously comical and sad.
Though writer/director Moorhouse uses elements from other filmmakers (most notably, Hitchcock), Proof is like no other film I have ever seen. Such an usual story could have easily slipped into melodramatic theatrics, but the writing is supple and the characters are played with perfect balance by outstanding actors (Russell Crowe garnered critical acclaim in this film well before he became popular). Viewers with patience and commitment will have difficulty finding a more emotionally rewarding film experience.
[Note: I'd be happy to discuss (no petty insults) this film with anyone. Please feel free to e-mail me any comments.]
The plot of Proof is simple: A blind photographer (Martin) is obsessed with taking pictures to prove that what he senses it the truth. Numerous flashbacks of Martin's childhood indicate that his mother may have lied to him repeatedly. This is the emotional root of his pathological distrust of everyone. As a child, Martin's first photo reveals definitively whether his mother was in fact lying. Now, he must find someone he can trust to describe it for him.
Martin's life revolves around two other characters (well, three if you include Bill, the canine). First, Celia is his pernicious housekeeper with an obsessive love for Martin. The relationship operates in a vicious circle; Martin knows of Celia's feelings and uses this as a weapon to torment Celia. Celia resents this and vindictively torments Martin. This circle is the source of some fascinating dark humor. Later, Martin forms a friendship with Andy. Seemingly honest and forthright, Andy describes Martin's photos for him. Celia feels threatened by Andy, feeling that her territory (Martin) is being violated. Celia uses her sexuality to manipulate Andy to lie to Martin. Celia subsequently reveals Andy's lie to Martin in an attempt to destroy their friendship. In the final scene, Andy describes Martin's first photo for him (like Martin, we never actually see it).
The simple plot and limited number of characters allow Martin, Celia, and Andy to develop a triangle of emotional depth and resonance. Proof is psychologically complex and multi-faceted, requiring undivided attention. It is about the fragility of true friendship, betrayal, obsession, forgiveness and ultimately accepting the indefinite nature of truth. Proof evokes a full spectrum emotions, often being simultaneously comical and sad.
Though writer/director Moorhouse uses elements from other filmmakers (most notably, Hitchcock), Proof is like no other film I have ever seen. Such an usual story could have easily slipped into melodramatic theatrics, but the writing is supple and the characters are played with perfect balance by outstanding actors (Russell Crowe garnered critical acclaim in this film well before he became popular). Viewers with patience and commitment will have difficulty finding a more emotionally rewarding film experience.
[Note: I'd be happy to discuss (no petty insults) this film with anyone. Please feel free to e-mail me any comments.]