From: blake7@herahera.cc.bellcore.com (berardinelli,james)
Subject: REVIEW: DAMAGE
Reply-To: blake7@herahera.cc.bellcore.com (berardinelli,james)
Organization: Bellcore, Livingston, NJ
Date: Wed, 27 Jan 1993 16:41:00 GMT
Followup-To: rec.arts.movies
Summary: r.a.m.r. #01720
Keywords: author=Berardinelli

				     DAMAGE
		       A film review by James Berardinelli
			Copyright 1993 James Berardinelli

Running Length:  1:50
Rated:  R (Sex, nudity, language)

Starring:  Jeremy Irons, Juliette Binoche, Miranda Richardson,
	   Rupert Graves
Director:  Louis Malle
Producer:  Louis Malle
Screenplay:  David Hare
Music:  Zbigniew Preisner
Released by New Line Cinema

     DAMAGE, based on the book by Josephine Hart, tells the tale of
Member of Parliament Dr.  Stephen Fleming (Jeremy Irons) as he falls
madly in love with Anna Barton (Juliette Binoche), the latest flame of
his son Martyn (Rupert Graves).  As the relationship between Martyn and
Anna becomes more serious, Stephen's infatuation grows into an
obsession.  He becomes blind to all concerns except being with Anna.

     Louis Malle, the talented director of such films as PRETTY BABY and
MURMUR OF THE HEART, has not used his cast to their best advantage in
his latest effort, DAMAGE.  As a treatment of obsession and its
consequences, the film is effective, but there are many avenues left
unexplored.

     Irons and Binoche are both underutilized, with their ability only
occasionally shining through.  The relationship between their characters
seems unlikely--Anna doesn't come across as the kind of woman to drive
a man to obsession--and the supposedly "erotic" sex scenes aren't that
steamy.  Why Malle had to snip and clip to get the original NC-17 down
to an R is beyond me.

     One of the main problems with the pairing of Anna and Stephen is
that their introduction to each other is mishandled.  The long,
lingering look that they exchange when they meet doesn't ignite sparks.
There's no heat in it.  And because that moment doesn't work, the rapid
development of the affair feels contrived and unnatural.

     The meat of the film--the part that focuses on Stephen's obsession
and the lengths to which he will go to be with Anna--is absorbing, and
occasionally riveting.  Irons clearly knows how to play a tormented man.
This isn't his first such role, but he continues to bring a
believability and humanity to the flawed protagonist.

     There are a number of intriguing psychological issues raised by
DAMAGE.  Unfortunately, all but the central one are unceremoniously
dropped with little or no exploration.  One of the most interesting of
these is the relationship between Irons and his daughter (played
brilliantly by Gemma Clark).  An estrangement between the two is hinted
at, but what could have been a potent subplot, using a capable young
actress, is ignored.

     Miranda Richardson is solid throughout, and may be the only adult
performer in the film to get the most out of her role.  In less than
half the screen time of Irons' Stephen, Ms.  Richardson manages to
create a more real personality.  She is as good here as in her other
recent releases, ENCHANTED APRIL and THE CRYING GAME.

     The denouement of DAMAGE is unsatisfying, although there isn't much
deviation in the tone and focus of the ending from that of the rest of
the film.  Again, too many issues are glossed over.  This is
frustrating, because the film seems to be bursting with potential that
is never allowed to escape.

     Despite numerous faults, DAMAGE is still a worthwhile motion
picture.  It presents a stark depiction of a man on the edge who is
driven to act by needs he can neither understand nor control, and the
amount of pain that such an obsession can cause.  Irons, although not in
top form, still impresses more often than not.  There's quite a bit
here, just not nearly as much as there could have been.

                         Rating:  8.0 (B, **1/2)

- James Berardinelli (blake7@cc.bellcore.com)

Newsgroups: rec.arts.movies.reviews