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Deleted scenes with optional commentary by director John Madden; From stage to screen: the making of Proof; Director commentary by John Madden
Full Product DetailsDisc #1 -- Proof
1. Crazy Talk [:00]
2. Happy Birthday, Catherine [:00]
3. Claire [:00]
4. "Harold Dobbs Exists!" [:00]
5. "I'm Glad He's Dead" [7:38]
6. "i" [8:40]
7. A Wonderful Night [3:19]
8. I Didn't Find It, I Wrote It [5:25]
9. The Machinery Is Working [4:09]
10. "You Didn't Believe Me" [5:50]
11. Mathematical Depression [7:30]
12. Goodbye Hal [6:29]
13. A Cold Proof [11:46]
14. Connecting The Dots [5:47]
15. Credits [5:24]
Shakespeare in Love director John Madden reunited with that film’s Oscar-winning leading lady, Gwyneth Paltrow, for this absorbing adaptation of David Auburn’s Tony Award-winning drama. Paltrow portrays Catherine, the brilliant but troubled daughter of college professor Robert (Anthony Hopkins), a legendarily gifted mathematician, whose advancing mental illness makes him increasingly difficult to look after. Catherine’s estranged sister, Claire (Hope Davis), arrives to put the old man’s affairs in order just as one of his former students, Hal (Jake Gyllenhaal), begins poring through Robert’s papers for proof of a theory that will revolutionize mathematics. The crux of the story is Catherine’s inability to distinguish herself in the outside world after spending so many years in her father’s shadow, and her grappling with the fear that she will inevitably succumb to the dementia that has robbed Robert of his greatness. Paltrow handles a difficult characterization with great skill and sensitivity; she effectively conveys the fear of someone walking the tightrope between sanity and insanity. Gyllenhaal is similarly good as the grad student whose motives remain questionable throughout much of the film: Is he trying to cement his mentor’s place in history, or is he an opportunist intending to appropriate Robert’s work for himself? Hopkins, of course, is superb as the declining mathematician, whose glimmers of lucidity are less frequent and less lasting with each passing day. Perhaps better than any writer in recent memory, Auburn (who scripted this adaptation of his play) portrays the dichotomy of the intellectual life, a life lived not only in “the real world” but also in the recesses of the mind. It’s not an easy theme to digest, but as laid out in Proof, it’s one well worth exploring. Ed Hulse, Barnes & Noble
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