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Hope Davis (left) plays Paltrow's sister

Before these characters can believe the claims made by each other, they must first believe in each other. And thankfully, the cast makes it fairly easy for us to believe in them, too. None of the actors stretch their range all that much, but they are still capable of conjuring up some quietly affecting moments. One such scene occurs when Robert and Catherine, who had thought they were collaborating on something, discover that they are actually on altogether different wavelengths. Alwin Kuchler's cinematography and Stephen Warbeck's music contribution gives some scenes, especially the flashbacks, a nice dreamy feel.

The one major drawback, alas, is the film's central metaphor, or rather, how it makes use of that metaphor. The film, like Auburn's play, just isn't interested in mathematics all that much; characters talk about how this or that will be the biggest thing since sliced variables, or whatever, but we never get even a taste of the thinking that lies behind these claims. To some viewers, this might seem a little like making a movie about the love life of Shakespeare that doesn't display any interest in his plays or poems. On that level, this film is inferior to Madden and Paltrow's previous joint venture. But as a story about personal and family dysfunction, and about coming to terms with life's uncertainties, Proof isn't bad.

Talk About It

1. How do you prove things? Is it possible to prove anything, outside of mathematics? What role do you give to forms of evidence, such as physical objects and personal testimonies?
   
   
2. What role does trust play in your relationships? How do you know who to trust, and when? How do you earn the trust of other people? Is anybody in this film completely trustworthy? Does anybody fail to trust someone else when he or she should have trusted that other person? Point to examples where people prove their trustworthiness, or betray the trust that others have placed in them.
   
   
3. Which of the sisters do you find it easier to identify with? Why? Did you find the other sister sympathetic too? Why or why not? Do you think they are trying to understand each other? What could each of them do to make their relationship work better?

The Family Corner

Proof is rated PG-13 for some sexual content, language and drug references. There is one sex scene, but nothing explicit is shown. The language includes a few four-letter words and several instances of divine names being taken in vain.

Photos © Copyright Miramax Films

© Peter T. Chattaway 2005, subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

James Mangold directed Gwyneth Paltrow all the way to Oscar glory in Shakespeare in Love. The pair are going for the gold again with Proof, an adaptation of David Auburn's celebrated Broadway play of the same title.

This time, Paltrow ventures into Beautiful Mind territory, playing the daughter of a genius mathematician (portrayed in flashbacks by Anthony Hopkins). She's troubled by the possibility that her father might have passed his madness on to her, and she finds comfort in the affections of a compassionate young man (Donnie Darko's Jake Gyllenhaal). Proof is already earning some rumors of Oscar nominations from mainstream critics. Christian press critics aren't enthusiastic, but they're not rejecting the film either.

Stefan Ulstein (Christianity Today Movies) says, "Proof does touch on big ideas, but very lightly, and whatever concern it expresses for the mind is ultimately channeled towards the heart. This may be a film about intellectuals, but it is not an intellectual film."

He adds, "The one major drawback, alas, is the film's central metaphor, or rather, how it makes use of that metaphor. The film … just isn't interested in mathematics all that much. … But as a story about personal and family dysfunction, and about coming to terms with life's uncertainties, Proof isn't bad."

Stephen McGarvey (Crosswalk) writes, "While Proof is certainly no Beautiful Mind, it is certainly a poignant and thoughtful look at the supposed thin line between brilliance and insanity."

Here's proof that mainstream critics are divided over Mangold's film.

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