Proof (DVD)
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Funny, dramatic, brilliantly acted, technically superb, and yet made on a minuscule budget; Proof epitomises much of what was best about Australian cinema in the 90s. Indeed, as well as being lauded by the critics and rapidly slapped onto the curriculum in many high school English classes, Proof is the first example of the Quirky Australian Movie that dominated our film industry in that decade. As star Hugo Weaving notes, many people became heartily sick of quirkiness. Yet the quirkiness here is just that: a touch of strangeness, rather than bizarre fantasy. Taking place in a recognisable world, Proof is about real people, not caricatures.
Three people, to be precise. Weaving plays Martin, a cold and mistrustful man who though blind since birth takes photographs of the people he meets and the places he goes. These photos, though often blurry or partial, are his Proof: proof that what he sensed was what others saw. He is locked in a war of mutual humiliation and cruelty with his obsessive housekeeper, Celia (Genevieve Picot). Russell Crowe is Andy, a straightforward and likable young waiter who befriends Martin and, in so doing, sets off the drama of the film. Celia bristles at the intrusion into her battle with her employer; Andy, struggling with the burden of being Martin's source of confirmation for the truth of his photographs, finds himself in increasingly complicated emotional territory; and Martin discovers both the possibility of new betrayal, and the possibility that old betrayals may never have happened.
The film unfolds with considerable grace, thanks to a strong script that combines serious emotional depth with a sizable dose of humour. Weaving is a marvel, believably blind and, more importantly, totally convincing as a sharply intelligent but deeply alienated man a man whose voice, intonation and reactions perfectly convey his self-protective lack of sympathy for those around him. Crowe is very appealing as the everyman caught by the troubling games of Celia and the weight of Martin's trust. And Picot's Celia is a riveting study in frustrated sexuality; smouldering and predatory, yet also vulnerable, she manifests both love and hate in her every look and movement. Truly excellent cinematography by Martin McGrath casts these three in the best possible light, as well as evoking the look and feel of ordinary life in Melbourne's inner eastern suburbs. A small score, featuring music by Not Drowning, Waving, is highly effective. And all these elements are impeccably combined by director Jocelyn Moorhouse into a whole that is both amusing and affecting a considerable achievement for anyone, and particularly for someone as relatively young and inexperienced as she was at the time. Still fresh after fourteen years, Proof deserves a place both in your memory and in your collection. See it.
EXTRA FEATURES
Commentary: Hugo Weaving
Photos From Martin's Album
Proof (DVD)
SKU: 24136
$9.99
Sale price
$9.99
Regular price
About This Item
🔴 Condition - Like New 🔴
Funny, dramatic, brilliantly acted, technically superb, and yet made on a minuscule budget; Proof epitomises much of what was best about Australian cinema in the 90s. Indeed, as well as being lauded by the critics and rapidly slapped onto the curriculum in many high school English classes, Proof is the first example of the Quirky Australian Movie that dominated our film industry in that decade. As star Hugo Weaving notes, many people became heartily sick of quirkiness. Yet the quirkiness here is just that: a touch of strangeness, rather than bizarre fantasy. Taking place in a recognisable world, Proof is about real people, not caricatures.
Three people, to be precise. Weaving plays Martin, a cold and mistrustful man who though blind since birth takes photographs of the people he meets and the places he goes. These photos, though often blurry or partial, are his Proof: proof that what he sensed was what others saw. He is locked in a war of mutual humiliation and cruelty with his obsessive housekeeper, Celia (Genevieve Picot). Russell Crowe is Andy, a straightforward and likable young waiter who befriends Martin and, in so doing, sets off the drama of the film. Celia bristles at the intrusion into her battle with her employer; Andy, struggling with the burden of being Martin's source of confirmation for the truth of his photographs, finds himself in increasingly complicated emotional territory; and Martin discovers both the possibility of new betrayal, and the possibility that old betrayals may never have happened.
The film unfolds with considerable grace, thanks to a strong script that combines serious emotional depth with a sizable dose of humour. Weaving is a marvel, believably blind and, more importantly, totally convincing as a sharply intelligent but deeply alienated man a man whose voice, intonation and reactions perfectly convey his self-protective lack of sympathy for those around him. Crowe is very appealing as the everyman caught by the troubling games of Celia and the weight of Martin's trust. And Picot's Celia is a riveting study in frustrated sexuality; smouldering and predatory, yet also vulnerable, she manifests both love and hate in her every look and movement. Truly excellent cinematography by Martin McGrath casts these three in the best possible light, as well as evoking the look and feel of ordinary life in Melbourne's inner eastern suburbs. A small score, featuring music by Not Drowning, Waving, is highly effective. And all these elements are impeccably combined by director Jocelyn Moorhouse into a whole that is both amusing and affecting a considerable achievement for anyone, and particularly for someone as relatively young and inexperienced as she was at the time. Still fresh after fourteen years, Proof deserves a place both in your memory and in your collection. See it.
EXTRA FEATURES
Commentary: Hugo Weaving
Photos From Martin's Album