Damage (1992)

Calificación de los usuarios:

6.7/10   

Director:

Louis Malle

Writers:

David Hare (screenplay)
Josephine Hart (novel)

Release Date:

22 enero 1993 (USA)

Genre:

Drama

Frase comercial:

With love comes risk. With obsession comes... Damage.

Plot:

A member of Parliament (Irons) falls passionately in love with his son's fiancée. They pursue their...

Plot Keywords:

Obsessive Love | Topless | Melancholy | Dysfunctional Family | Fall From Height

Awards:

Nominated for Oscar. Another 6 wins & 2 nominations

Comentarios de los usuarios:

what happens when you don't wear underwear

Cast

Jeremy Irons	...	Dr. Stephen Fleming
Juliette Binoche	...	Anna Barton
Miranda Richardson	...	Ingrid Fleming
Rupert Graves	...	Martyn Fleming
Ian Bannen	...	Edward Lloyd
Peter Stormare	...	Peter Wetzler
Gemma Clarke	...	Sally Fleming
Julian Fellowes	...	Donald Lyndsay, MP
Leslie Caron	...	Elizabeth Prideaux
Tony Doyle	...	Prime Minister
Ray Gravell	...	Raymond (as Raymond Gravell)
Susan Engel	...	Miss Snow
David Thewlis	...	Detective
Benjamin Whitrow	...	Civil Servant
Jeff Nuttall	...	Trevor Leigh Davies MP
Roger Llewellyn	...	Palmer
Jason Morell	...	Young Man at Sotheby's
Barry Stearn	...	Prime Minister's Aide
Linda Delapena	...	Beth
Francine Stock	...	TV Interviewer
Henry Power	...	Henry
Simon De Deney	...	Young Man at DTI
Luc Etienne	...	Lutetia Receptionist

Dirigida por
Louis Malle

Créditos del guión (in alphabetical order)
David Hare		screenplay
Josephine Hart		novel

Producida por
Louis Malle	....	producer
Vincent Malle	....	co-producer
Simon Relph	....	co-producer

Música original por
Zbigniew Preisner

Fotografía por
Peter Biziou

Montaje por
John Bloom

Casting
Patsy Pollock

Diseño de producción por
Brian Morris

Dirección artística
Richard Earl

Decorados
Philippe Turlure

Diseño de vestuario por
Milena Canonero

Departamento de maquillaje
Louise Constad	....	key makeup artist
Linda DeVetta	....	key makeup artist
Paolo Mantini	....	key hair stylist

Dirección de producción
Jean-Yves Asselin	....	production manager
Mederic Bourlat	....	assistant unit manager
Donna Grey	....	production manager

Ayudante de dirección
Michel Ferry	....	first assistant director

Art Department
Sarah Hauldren	....	assistant art director
Barry Wilkinson	....	property master
Simon Wilkinson	....	chargehand stand-by props

Departamento de sonido
Eddy Joseph	....	sound editor
Jean-Claude Laureux	....	sound
Nigel Mills	....	sound editor
Robin O'Donoghue	....	sound re-recording mixer

Camera and Electrical Department
Peter Bloor	....	gaffer
Marc Koninckx	....	Steadicam operator
Marc Koninckx	....	camera operator
Carl A. Vidnic	....	lighting technician

Editorial Department
Ian Seymour	....	assistant editor

Otros miembros del equipo
France Lachapelle	....	script supervisor
Rachel Neale	....	location manager

Production Companies

• Canal+
• Channel Four Films
• European Co-production Fund
• N.E.F. Filmproduktion und Vertriebs (I)
• Skreba Films
• TF1 Films Productions

Distributors

• Aquarius TV (2002) (Greenland) (TV)
• Criterion Collection, The (laserdisc)
• Europa Filmes (2002) (Brazil) (DVD)
• Europa Filmes (Brazil) (VHS)
• Film Four International (1993) (UK) (theatrical)
• FilmFour Video (2003) (UK) (DVD)
• Indies Home Entertainment (2003) (Netherlands) (DVD)
• Majestic Film (1992) (UK) (theatrical)
• New Line Cinema (USA)
• New Line Home Video (1998) (USA) (DVD)
• Paris Vídeo (Brazil) (VHS)
• Transmundo Films (Argentina)
• Transmundo Home Video (THV) (Argentina) (video)
• VCI Distribution (2001) (UK) (DVD)
• Warner Bros. (Spain)

Other Companies

• Shepperton Studios  movie studio
• Joe Dunton & Company  camera equipment provided by
• Lee Lighting  grip and lighting equipment

También conocida como:

Fatale (France)
Verhängnis (Germany)
Herida (Spain) [es]
Vez en la vida, Una (Argentina) [es]

MPAA:

Rated R for strong sexuality, and for language. (edited version)

Duración:

111 min

País:

Germany | UK | France

Idioma:

English | French | German | Italian

Color:

Color

Aspect Ratio:

1.66 : 1

Sonido:

Dolby SR

Clasificación:

Iceland:12 (original rating) | Iceland:16 (video rating) | Netherlands:12 | Portugal:M/16 | New Zealand:R | Argentina:18 | Australia:R | Brazil:18 | Chile:18 | Finland:K-16 | Germany:16 | Hong Kong:III | South Korea:(Banned) (1992-1994) | South Korea:18 (re-rating) (cut) | Spain:18 | Sweden:15 | UK:18 | USA:NC-17 (original rating) | USA:R | Canada:16+ (Quebec) | Canada:R (Manitoba/Ontario) | Canada:14 (Nova Scotia)

Filming Locations:

London, England, UK

Company:

Canal+

Trivialidades:

The Part of the Prime Minster's Aide was going to be played by Stephen Beard but shortly before filming he was replaced by Barry Stearn.

Goofs:

Continuity: When Stephen is in the bathtub, Ingrid's arm suddenly changes position between shots.

Quotes:

Dr. Stephen Fleming: I want you.
Anna Barton: I know.

Movie Connections:

Referenced in "Saturday Night Live: Miranda Richardson/Soul Asylum (#18.16)" (1993)

what happens when you don't wear underwear

Jeremy Irons and Juliette Binoche do some "Damage" in this 1992 film also starring Miranda Richardson, Rupert Graves, Ian Bannen and Leslie Caron. Irons is a British cabinet minister who falls for his son's girlfriend (Binoche), a deeply disturbed young woman.

Despite the facetiousness of my summary line, this is quite a brilliant film about emotionally damaged people and obsession. It also comes off as very realistic because the emotions are portrayed so honestly. On the surface, it seems ridiculous, sort of a sex-change version of The Graduate, with Binoche involved with both father and son. Here is the Irons character, Dr. Stephen Fleming, with a brilliant career, a beautiful wife (Richardson) whose father (Bannen) has had a brilliant career; they have two children and a lovely home and lifestyle. Why threaten it with a tawdry affair? I kept thinking what an idiot Irons was throughout the film, yet we know that in real life, people have played Russian roulette with their careers before.

It's clear when Anna seeks out Stephen and introduces herself that her attachment to Martyn (Graves) was simply to get to him - and she does -immediately. All they can do is stare at one another. When she invites him to her apartment, she is sitting on the edge of her bed. Seeing him, she sinks to the floor, her arms outstretched. Because she never wears underwear, they can usually have sex with most of their clothes on and have it anywhere - street corners, tables, Stephen's father-in-law's house. The sex isn't particularly erotic to watch; it's awkward-looking because of the frenzy involved.

Part of the obsession for Stephen is the unleashing of passion that's been sublimated; part of it is the danger - and is part of it having something he didn't have in his own youth that his son has now? Does he look at Martyn and see that Martyn's life is ahead of him and that he, Stephen, is no longer "young?" Possible. Is he angry with Martyn for replacing him in his wife's affections? Perhaps. For Anna, the motives and thrills are different - due to a tragedy in her life involving her brother who apparently was in love with her too, she is playing some weird psychological game in which there is no real winner.

The acting is marvelous - Binoche is exquisitely dressed though some of those marvelous clothes are ripped off of her - she brings an exotic, androgynous and mysterious quality to the role of Anna. Irons is excellent as an up-tight father and half-crazed lover. Leslie Caron has a small role as Anna's mother. She's lovely as ever and strong in a dramatic role of a woman who drinks a little but who nevertheless has Stephen's number.

The last 30 minutes of this movie are some of the most shattering moments in film, and what makes them so shattering is not only the situation but the absolutely devastating, visceral, no holds barred performance by Miranda Richardson. She is ably supported by a writer and director who both knew something about profound pain. Her performance is great - that she had the material to give that performance and a director who let her go makes this film truly unforgettable.

When Damage is over, you won't be the person you were when you started watching it. It's so rare nowadays to see such a fascinating, character-driven film. It will stay with you for a long time.