Gene Siskel upon its release considered it one of the year's best films, commenting that it is "written smart, written with a topicality, so the characters seem credible", and went on to say that " Damage is a real special film". [6] Roger Ebert described it as "one of the most compelling films [he'd] ever seen", [6] and rated the film 4 out of 4 stars. [7] Anna and her brother were very close, so close that he committed suicide when Anna started dating a man. However, it is never revealed if Anna was really romantically involved with her brother. Lui, esempio preclaro di homo politically correct, de repente si trova i lombi arsi dal fuoco della passione, è pronto a gettare alle ortiche carriera politica, matrimonio, prole, incurante del fatto che il suo figghiolo - bellissimo e intelligentissimo comme il faut - voglia sposare la conturbante donzella. They involve a degree of mild violence and of domination (there are references to slavedom, to being tied, and blindfolded, of Anna giving herself over to his will, of being physically ‘arranged’). These scenes leave us with a sense of the brutality of Fleming’s sexual desire, and of Anna’s desire to submit to it.

Meet the In-Laws: Martyn brings Anna to his parents' house to introduce her to them. The meeting is quite awkward because Martyn's mother Ingrid takes an immediate dislike to Anna (but she does not show it openly). Moreover, Stephen and Anna have already (but they do not tell the others about it) met and are attracted to each other.This book was made into a good film in 1992, starring Jeremy Irons, and it's probably his presence in that which reminded me of Lolita, as he appeared in the excellent remake of that film as well. Self-Harm: Ingrid harms herself when she hears that her son is dead and her husband had an affair with his future daughter-in-law. Interest in Hart's poetry is maintained by the Josephine Hart Poetry Foundation, a registered charity under English law. [4] References [ edit ]

La passione divorante che irrompe - non cercata, eppure inconsciamente attesa da sempre - nell’esistenza impeccabile e banalmente perfetta del protagonista, ne sconvolge dalle fondamenta l'edificio costruito sul terreno friabile di un'abile dissimulazione. Perché non si tratta soltanto dell’attrazione, sia pure ossessiva e irrefrenabile, nei confronti di una persona “proibita” e avvolta nel mistero, ma di un "ritorno a casa", del riconoscimento di un essere simile a sé con cui liberare, finalmente, pulsioni e desideri mai confessati e sempre ingabbiati nel carcere della mistificazione. This was such an odd and bizarre book. I was very disappointed with this one, but that might be my fault because I went into it thinking it was a completely different kind of book than what it really is. The three-part series is led by The Hobbit star Richard Armitage and Peaky Blinders’ Charlie Murphy. It is produced by France’s Gaumont and the UK’s Moonage Pictures. Damage is a 1992 romantic psychological drama film directed and produced by Louis Malle and starring Jeremy Irons, Juliette Binoche, Miranda Richardson, Rupert Graves, and Ian Bannen. Adapted by David Hare from the 1991 novel Damage by Josephine Hart, the film is about a British politician (Irons) who has a sexual relationship with his son's soon-to-be-fiancée and becomes increasingly obsessed with her. Richardson was nominated for an Academy Award for Best Supporting Actress and won a BAFTA Award for Best Actress in a Supporting Role for her performance as the aggrieved wife of the film's main character.

However, when Roger’s eyes met Anna’s for the first time, sparks flew.. In each other, they instantly feel sexual attraction, in the form of extreme weakness and need for each other, due to a mutual brokenness they recognize in each other, a pain they carry from from childhood. Dr. Stephen Fleming, a physician who has entered politics and become a minister, lives in London with wife Ingrid and daughter Sally. Their adult son, Martyn, a young journalist, lives elsewhere in London. At a reception, Stephen meets a young woman, Anna Barton, the daughter of a British diplomat and a four-times-married Frenchwoman. Anna introduces herself as a close friend of Martyn's; she and Stephen are instantly attracted to each other. Some time later, Martyn brings Anna to meet his parents at their elegant townhouse and reveals they are romantically involved. The sexual tension between Stephen and Anna is apparent, although Martyn and Ingrid seem unaware.

Damage is a 1992 Psychological Thriller film directed by Louis Malle, starring Jeremy Irons, Juliette Binoche, Miranda Richardson and Rupert Graves. In my life, I have travelled far, acquiring loved and unfamiliar companions; a wife, an son, and a daughter. I have lived with them, an loving alien in surrounds of unsatisfying beauty. An efficient dissembler, I gently and silently smoothed the rough edges of my being. I hid the awkwardness and pain which I inclined towards my chosen outline, and tried to be what those loved expected me to be- a good husband, a good father, and a good son." The best way I can describe the process of reading this book is via analogy. You climb up the ladder to a very tall slide at the playground. You sit down at the top, so excited by what all of your friends have said about the amazing ride down the slide. Right as you begin to shift your weight to set your journey in motion, you glimpse at this piece of equipment. What you once thought was a harmless little ride is actually full of obstacles and danger. The slide is greased. It has sharp corners. And it goes down infinitely farther than you thought possible, or were ever willing to go. But what's done is done--you shifted your weight, and now you've gotta ride it all the way to the bottom, however thrilling and terrifying that ride may be. Hart's idea of a second death through oblivion, while deeply thought-provoking, is pushed too hard for me. The vehicle of the play is too much, too close to my face. The idea outgrows the story, and pieces of the novel feel missing: Andrew's relationship to the playwright is explored very little, and how the play and the playwright change him are completely missing. Andrew does find a way to co-exist with both the dead and the living at the end, but there's a sense that could have occurred without him ever meeting the playwright or seeing the play. It's a large, gaping hole. Maybe we are to imagine that piece ourselves?At one point, Fleming asks Anna: ‘Who are you?’ and she replies: ‘I am what you desire…’ While Fleming fantasises about the possibility of leaving his wife and living with Anna, she realises that their relationship is outside of normal bounds and social conventions. It is only there that it can exist. The narrator is a British television interviewer who has recently lost his wife of ten years, but after a year is trying to move forward in his life with work and a new relationship while also navigating his relationships with his deceased wife, Laura, and her living parents. Laura's presence leaves him for only short periods of time, giving him brief periods of respite in which he can be present to this life. During the course of the book, Andrew is able to have longer periods of time in which he can leave Laura (yes, the question of who is leaving whom is one of the ideas explored) and remain in the land of the living. Hart's premise is that each of us dies two deaths -- one physical and one when we slip into oblivion, when we are forgotten. Andrew's character allows us to see the story from the living side, but Hart uses another pivotal character, a playwright who Andrew is to interview on his television series, who has explored and is advancing this idea of oblivion in her new play, to give us the story from the dead. Fleming tells the reader: ‘We were made for other things. For needs that had to be answered day or night – sudden longings – a strange language of the body.’