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Proof (1991) More at IMDbPro »

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Proof -- The life of a blind photographer who is looked after by a housekeeper is disrupted by the arrival of an agreeable restaurant worker.
Proof -- text os


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Down 13% in popularity this week. See why on IMDbPro.
Jocelyn Moorhouse (written by)
View company contact information for Proof on IMDbPro.
Release Date:
20 March 1992 (USA) See more »
Before love comes trust. Before trust comes proof. See more »
The life of a blind photographer who is looked after by a housekeeper is disrupted by the arrival of an agreeable restaurant worker. Full summary » | Add synopsis »
11 wins & 2 nominations See more »
(52 articles)
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User Reviews:
People can fool you See more (42 total) »


  (in credits order) (verified as complete)

Hugo Weaving ... Martin
Geneviève Picot ... Celia (as Genevieve Picot)

Russell Crowe ... Andy
Heather Mitchell ... Mother

Jeffrey Walker ... Young Martin
Daniel Pollock ... Punk
Frankie J. Holden ... Brian
Frank Gallacher ... Vet

Saskia Post ... Waitress
Belinda Davey ... Doctor
Cliff Ellen ... Cemetery Caretaker
Tania Uren ... Customer
Robert James O'Neill ... Hoon
Anthony Rawling ... Hoon
Darko Tuscan ... Hoon

Adele Daniele ... Hoon
Roy Edmunds ... 2nd Policeman
Lisa Chambers ... Nurse
Suzanne Chapman ... Chemist Girl
Angela Campbell ... High Heeled Woman
Osvaldo Maione ... Waiter (as Oswaldo Maione)
Carole Patullo ... Kiosk Girl
Corey ... Bill - The Dog
Melbourne Symphony Orchestra ... Performers
Nicholas Braithwaite ... Conductor of the Melbourne Symphony Orchestra

Directed by
Jocelyn Moorhouse 
Writing credits
Jocelyn Moorhouse (written by)

Produced by
Lynda House .... producer (produced by)
Original Music by
Not Drowning Waving (original music by)
Cinematography by
Martin McGrath (director of photography)
Film Editing by
Ken Sallows (film editor)
Casting by
Gregory Apps (casting) (as Greg Apps)
Production Design by
Paddy Reardon  (as Patrick Reardon)
Set Decoration by
Dimity Huntington 
Makeup Department
Amanda Rowbottom .... make-up and hair
Production Management
Catherine Bishop .... production manager (as Catherine 'Tatts' Bishop)
Robert Graham .... unit manager
Second Unit Director or Assistant Director
Julie Burton .... second assistant director
P.J. Hogan .... second unit director (as Paul J. Hogan)
Tony Mahood .... first assistant director
Art Department
Chris James .... standby props
Rebecca O'Brien .... art department runner
Sound Department
Steve Burgess .... foley recordist
Steve Burgess .... sound mixer
Lloyd Carrick .... sound recordist
Lloyd Carrick .... sound recordist: second unit
Sue Clancy .... assistant dubbing editor
Chris Goldsmith .... boom
Gerry Long .... foley artist
Glenn Newnham .... dubbing editor
Glenn Newnham .... sound editor
Paul Pirola .... foley recordist
Roger Savage .... sound mixer
Eugene Winston .... sound transfers
Visual Effects by
Colin Tyler .... opticals
Chris Anderson .... stunt co-ordinator: New Generation Stunts
Camera and Electrical Department
John Bowering .... camera 1: second unit
Justin Brickle .... camera assistant: second unit
Johnny Earthmover .... best boy
Mark Gilfedder .... gaffer
Noel Jones .... camera 2: second unit
Warik Lawrance .... clapper/loader
Brett McDowell .... key grip
Calum McFarlane .... focus puller
Jennifer Mitchell .... stills photographer
Daryl Pearson .... best boy
Brendan Read .... electric trainee
Ian Sheath .... rostrum camera
John Tate .... grip
Roger Van Wensveen .... camera 3: second unit
Casting Department
Kelly O'Shea .... casting assistant
Costume and Wardrobe Department
Kerri Mazzocco .... wardrobe (as Ccerri Barnett)
Editorial Department
Paul Cross .... negative matching
Maria Kaltenthaler .... assistant film editor
Tim Morgan .... colour grading
Rowan Wilson .... negative matching
Location Management
Mim Tsantis .... location assistant (as Mimika Tsantis)
Music Department
Russel Bradley .... original music producer
David Bridie .... original music producer
Tim Cole .... original music producer
Brian May .... music score: "Blood Moon" by
Rowan McKinnon .... original music producer
Helen Mountfort .... original music producer
Not Drowning Waving .... original music producer
John Phillips .... original music by: Not Drowning, Waving
James Southall .... original music by: Not Drowning, Waving
Other crew
Ian Anderson .... laboratory liaison
Russell Boyd .... production/unit runner
Mandy Carter .... production accountant: Moneypenny Services
Keith Fish .... caterer: Food For Film
Kristina Frolich .... caterer: Food For Film
Tony Leonard .... insurance: Steeves Lumley
Angie Limoncelli .... casual assistant
Jakki Mann .... production co-ordinator
Bryce Menzies .... legal consultant: Roth Warren & Menzies
Mez O'Brien .... casual assistant
Arch Roberts .... safety officer
Oliver Streeton .... title design
Anne Went .... continuity
Matt Apps .... with thanks to (as Matthew Apps)
Ann Brown .... with thanks to: Hill & Parkinson
Teresa Bruno .... with thanks to: Zia Theresa Restaurant (as Theresa Bruno)
Elizabeth Creese .... with thanks to
Brent Franklin .... with thanks to
Dowie Hogan .... with thanks to
P.J. Hogan .... with thanks to (as Paul)
Nita Johns .... with thanks to
Ollie O'Donnell .... with thanks to
Cristina Pozzan .... with thanks to
Keith Walton .... with thanks to
Trevor Welby .... with thanks to
Crew verified as complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Rated R for sensuality and some language
86 min | USA:90 min (DVD)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Russell Crowe and Daniel Pollack also worked together in Romper Stomper, 2 years later.See more »
Factual errors: The first time Martin enters his house, he gets surprised by Celia sitting and making a noise. However, since she is smoking, he could have smelled the smoke as soon as he had opened the door. Later in the movie, he is suggested to have a pretty sensitive nose for a perfume a lady is wearing in the veterinarian's office.See more »
Martin's Mother:Why would I lie to you?
Young Martin:Because you can.
See more »
Movie Connections:
Symphony No. 5 in C MinorSee more »


How does it end?
See more »
18 out of 22 people found the following review useful.
People can fool you, 7 March 2001
Author: Dennis Littrell from United States

If you're blind people can fool you. They can lie to you. And if you're a photographer and you are blind, who will believe you? You need proof, and this is what Martin (Hugo Weaving) seeks. He is a man who projects onto others the lovelessness of his own soul. He believed as a child that his mother died to get away from the shame of having a son who was blind. Even as an adult he believed she lied to him. He goes to the mortuary and is led to her grave where he reads the head stone with his fingers. He asks the mortician if a coffin is sometimes buried empty. The mortician asks why anyone would do that. Martin suggests a prank. The mortician replies, "Seems like a pretty expensive prank." Martin spends his whole life obsessively seeking proof because he can trust no one. Until he meets Andy.

He trusts Andy.

It hardly need be said that Andy, played with boyish charm and just the right amount of discovery by Russell Crowe, will both disappoint Martin and teach him a lesson. Martin certainly needs some kind of lesson. He exploits his housekeeper Celia's obsessive love for him, tormenting her by keeping her on, while denying her love as he inflicts little humiliations. For her part Celia, played with a penetrating and desperate sexuality by Geneviève Picot, mothers him and seeks to dominate. She wants to keep Martin dependant on her in the hope that someday he will seek her love. She controls his life, teaching the dog to prefer her and to come to her when signaled. In her frustration she plays little tricks on Martin, such as putting objects in his path so he will run into them. When Andy threatens to become important to Martin, predictably she seduces him. Thus we have our triangle. Andy also serves as an objectifying device to underscore the obsessions of Martin and Celia.

Jocelyn Moorhouse wrote and directed this original little masterpiece of dark humor from down under. She carefully worked out the character-driven story so that humor and tragedy are in balance and we experience the revelations from the perspective of all three characters. Nothing is fake or hackneyed and no one point of view is preferred. She has the gift of seeing more than one side of the human condition, and it is this gift that makes her scenes so effective. Note that the drive-in theater scene depends on our knowing what Martin is doing and why, while seeing his actions from the point of view of the bikers. He faces the bikers from the driver's seat in the next car and holds up a packet of prophylactics. The biker guy looks over and thinks that he is being taunted by a "fag."

I have seen Moorhouse's How to Make an American Quilt (1995), which also explored the underlying psychological motives of human beings, but this is a better film. It will be interesting to see what she does next.

(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)

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