In the early 1990s, following the surprise success of Basic Instinct, Hollywood launched whole series of films labelled as "erotic thrillers". Usually, such films were disappointments - unsatisfying both to the fans of thrillers and those who liked to be engrossed in erotica. However, they proved to be modest commercial success, mostly due to the hype caused with rating controversies. One of the films that was mistaken for such "erotic thriller" was Damage, British erotic drama, directed by veteran French director Louis Malle. This film also had to fight with American censors, but, when the film actually had hit the markets, the viewers, expecting another interesting thriller or fleshfest, turned out to be quite disappointed.

The movie was based on the dark depressing novel by Josephine Hart. Its protagonist is Dr. Stephen Fleming (played by Jeremy Irons), member of the British Parliament whose life on the surface seems perfect. His family life looks ideal, his wife Ingrid (Miranda Richardson) loves him, his two children are grown, and he is rising political of British politics, seriously considered for the post of Prime Minister. However, everything shatters when he meets Anna Barton (played by Juliette Binoche), beautiful young woman who just happens to be the girlfriend of his son Martyn (played by Rupert Graves). After a single glance, two of them engage in wild, passionate and clandestine affair. Stephen is aware of the risks, but he can't control his desires. Same as Anna, despite being emotionally scared in the tragedy from her past.

Louis Malle made reputation, among other things, by breaking taboos and making films about forbidden expressions of human sexuality - like incest or paedophilia. However, unlike some authors, who went after cheap sensationalism and other excuses to present gratuitous sex or violence, Malle was just exploring favourite subject of many "artistic" European filmmakers, especially French ones -huge gap between the nominal morality of European bourgeoisie and the actual depravity that controls the life of many of its members. Being provided with excellent characters, both by novelist and by talented screenwriter David Hare, Malle could engage in his favourite way of portrayal – clinical, cold dissection of protagonist's life and his hypocrisy. Malle's style is cold and clinical, and it shouldn't surprise anyone that the sex scenes, although definitely explicit, aren't erotic at all. Actually, hardly anything is appealing in this film that takes place on the grey interiors and exteriors of London and under the eternally cloudy sky.

One of the reasons why the film is rather unappealing is miscasting. Jeremy Irons, although being one of the best actors from British Isles, is good in his role, but he lacks the charm, able to convince that he could bring the girl half of his age to the bed with a single look. Also, even in the worst moments for his character, Irons seems somewhat too dignified and cold to really makes us empathise with him. Same goes for Juliette Binoche, talented actress that, although physically attractive, simply seems too plain to be femme fatale. Other actors save the day - versatile and always reliable Miranda Richardson as Stephen's wife and veterans Ian Bannen and Leslie Caron in two minor, but very effective roles. In the end, what we are left with is a paradox – technically great, excellently paced film with good scenario, that in the end leaves us indifferent to the story and characters.

RATING: 6/10 (++)

(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on May 7th 1999)

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