Damage

1992

Drama / Romance

110
Rotten Tomatoes Critics - Certified Fresh 78%
Rotten Tomatoes Audience - Upright 73%
IMDb Rating 6.8 10 15,491

Synopsis


Downloaded times
June 15, 2020

Director

Cast

David Thewlis as Father
Jeremy Irons as Claus von Bulow
Juliette Binoche as Anne Laurent
Peter Stormare as David Spitz
720p.BLU 1080p.BLU
1019.11 MB
1280*720
English 2.0
R
23.976 fps
111 min
P/S N/A / N/A
2.05 GB
1920×1080
English 2.0
R
23.976 fps
111 min
P/S N/A / N/A

Movie Reviews

Reviewed by blanche-2 8 / 10 / 10

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.

Reviewed by mainecoon50 10 / 10 / 10

I like this movie.

I like this movie, not so much because of its analysis of but because of the directness with which it portrays obsessive behavior and the price it demands. All the action struck me as very immediate and real, not contrived in any degree. We read about such behavior every day, be it the bank teller who embezzles huge sums to feed a crack habit, or the respectable family man who throws everything away on a gamble. Some, undoubtedly, will be put off by the film's graphic sexuality. But I'm one who regards all human activity as some form of sexual expression. To me the sexuality was simply a medium. The drives, the betrayals, the lies, and the ultimate tragedy were the real story. I also regard Anna as a tragic character, not self-indulgent or spoiled. Watching her play out the drama with Stephen is like watching Greek tragedy. She knows what's coming, but it has to be, and she really can do nothing to stop it. And when the story comes to it's resolution I pity her. She knows the damage she's done, and now she has to go on and repeat the tragedy. And it all stems from her sense of original sin with her brother. There's a parallel here with Brenda and her brother in HBO's Six Feet Under. I also like the fact the it ends with more questions than answers. When Stephen is talking to the detective following the death of his son the man asks, "And your son didn't know about your affair?" Stephen shakes his head matter-of-factly. The detective responds, "Are you sure?" For just a moment the camera makes it evident that, no, Stephen is not sure. And as he regards the photograph at the end, what is it he's searching for in those faces? His son looking at Anna, he looking at his son, and Anna looking straight at the camera. Truly an interesting and stylish drama of human relationships that could be quite immediate, quite real.

Reviewed by yossarian100 10 / 10 / 10

A Louise Malle masterpiece of unbridled passion!

Fatale (Damage) is one of the most deeply lustful and emotionally charged films I've seen in years, a true Louise Malle masterpiece of unbridled passion. The love scenes are hot, to say the least, and I'll never be able to look at Julliet Binochet again without remembering them. Jeremy Irons does incredible work here and Amanda Richardson, who's part really doesn't require much during most of the movie, actually steals the film with some over the top acting at the end. However, it's Julliet Binochet who anchors this fine movie with her riveting performance and her strong and quite impressive visual presence. I simply couldn't take my eyes off her whenever she was on screen.

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