‘Proof’ that
good drama
requires an analytical mind
By
Lesley Nickus
Daily Forty-Niner
Diversions Editor
“Proof” is the story of 26-year-old Catherine (Gwyneth Paltrow) who
is trying to determine her place in life after the passing of her father (Anthony
Hopkins), a mathematical genius.
Written by David Auburn, “Proof” was originally intended for the
stage. Its debut in 2000 led to the longest run since “Amadeus,” and
it won of the 2001 Pulitzer Prize for drama. The director of the stage version,
John Madden who directed Paltrow in “Shakespeare in Love,” was
also the director of the film version. Paltrow played Catherine in the London
stage version as well.
The movie’s background is somewhat complicated. Cath-erine takes care
of her father, a college math professor, until his death. She was also a student
overcome by the pressures of having such a brilliant and famous father. If
that isn’t enough, one of his former students, Hal (Jake Gyllenhal),
is enamored with her and won’t go away. In the beginning, he masks his
feelings by telling Catherine he believes her father made a mathematical breakthrough
during the time before his death, when what he really wants to do is see her
every day. This masquerade comes to haunt him later in the movie.
Between the pain of her father’s death, this young man who has feelings
for her, and her self-perpetuated fear that she might become mentally ill (as
her father had become), she begins to seriously question her sanity.
Catherine also has a sister, with whom she does not get along, who decides
to show up years after leaving Catherine alone to take care of their father
and attempts to reacquaint herself with her life, only making it more difficult
and confusing.
The storyline is played out in a series of flashbacks, which are sometimes
difficult to identify, as the characters do not appear younger in the flashbacks.
With so many relationships and sub-plots involved, this style of storytelling
is sometimes difficult to understand.
Paltrow delivers a convincing performance as a tortured young woman, leaving
the viewer to feel her confusion and pain. Hopkins maintains his dignified
style of acting while portraying, quite accurately, a former genius whose mind
is not all there.
His portrayal of a mentally ill person was not over dramatized,
as seen in many other films; rather, it was more subtle. Davis plays the overbearing,
selfish sister so well that I began to seriously dislike her as the movie progressed.
Gyllenhal
was convincing in his portrayal of a love struck young man, however his character
was overshadowed at times by the issues of the other characters,
and the sub-plot involving his relationship with Catherine was significantly
under-represented.
There is so much going on in the film that it leaves many questions in the
minds of viewers; it requires a little more brain activity to figure out than
the average film.
If you are looking for a meaningful movie with complex relationships
and interesting plot twists, this is the movie for you. But, if you are just
looking to see a movie that doesn’t require much thinking, you may want
to check out one of the comedies opening this weekend.
“Proof” will be released in select theaters Friday. |
