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IMDbPro

Perdas e Danos

Título original: Damage
  • 1992
  • 16
  • 1 h 51 min
AVALIAÇÃO DA IMDb
6,7/10
22 mil
SUA AVALIAÇÃO
Juliette Binoche and Jeremy Irons in Perdas e Danos (1992)
Home Video Trailer from New Line Home Entertainment
Reproduzir trailer2:23
1 vídeo
88 fotos
Romance sombrioDramaRomance

Um membro do Parlamento se apaixona intensamente pela noiva de seu filho, apesar dos perigos de ser descoberto.Um membro do Parlamento se apaixona intensamente pela noiva de seu filho, apesar dos perigos de ser descoberto.Um membro do Parlamento se apaixona intensamente pela noiva de seu filho, apesar dos perigos de ser descoberto.

  • Direção
    • Louis Malle
  • Roteiristas
    • David Hare
    • Josephine Hart
  • Artistas
    • Jeremy Irons
    • Juliette Binoche
    • Miranda Richardson
  • Veja as informações de produção no IMDbPro
  • AVALIAÇÃO DA IMDb
    6,7/10
    22 mil
    SUA AVALIAÇÃO
    • Direção
      • Louis Malle
    • Roteiristas
      • David Hare
      • Josephine Hart
    • Artistas
      • Jeremy Irons
      • Juliette Binoche
      • Miranda Richardson
    • 122Avaliações de usuários
    • 30Avaliações da crítica
    • 71Metascore
  • Veja as informações de produção no IMDbPro
    • Indicado a 1 Oscar
      • 6 vitórias e 6 indicações no total

    Vídeos1

    Damage
    Trailer 2:23
    Damage

    Fotos88

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    Elenco principal24

    Editar
    Jeremy Irons
    Jeremy Irons
    • Dr. Stephen
    Juliette Binoche
    Juliette Binoche
    • Anna
    Miranda Richardson
    Miranda Richardson
    • Ingrid
    Rupert Graves
    Rupert Graves
    • Martyn
    Ian Bannen
    Ian Bannen
    • Edward
    Peter Stormare
    Peter Stormare
    • Peter Wetzler
    Gemma Clarke
    • Sally
    Julian Fellowes
    Julian Fellowes
    • Donald Lyndsay
    Leslie Caron
    Leslie Caron
    • Elizabeth
    Tony Doyle
    Tony Doyle
    • Prime Minister
    Ray Gravell
    • Raymond
    • (as Raymond Gravell)
    Susan Engel
    Susan Engel
    • Miss Snow
    David Thewlis
    David Thewlis
    • Detective
    Benjamin Whitrow
    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
    • Direção
      • Louis Malle
    • Roteiristas
      • David Hare
      • Josephine Hart
    • Elenco e equipe completos
    • Produção, bilheteria e muito mais no IMDbPro

    Avaliações de usuários122

    6,721.8K
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    Avaliações em destaque

    8blanche-2

    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.
    paulvdree

    Fascinating

    This movie is really much less shallow than many people criticizing it would think. Actually, I was captivated by it from start to finish. It is understandable that one would question the likeliness of all these events happening, and in that respect the characters might be a bit unreal. But I don't think the movie should be watched that way. The sheer unreasonable passion between Anna and Stephen should be felt, not analyzed. I think that a lot of people wished that they would or could feel something like this for another in today's harsh, business-like world. It is always an easy way out to be cynical about it. Although the characters and their relationships are not very "deep", I found everything entirely believable, and that is the only thing that counts.

    I did not really ever see an entire movie with Binoche or Irons, and I wonder how they managed to slip through for so long, because I loved them both. Funny how one commentator remarked that the Anna character should have been sleazier for credibility. Don't you see that this all about self-destruction? The tiny, innocuous-looking Anna that Binoche portrays, a girl that most people wouldn't give a second look, a girl that might seem cold at first sight, is just what attracts Stephen, because they both find in each other what they have never found in anyone else. Both characters are on a mission to make their lives more miserable, because that it what defines them. This certainly goes for Anna, but Stephen is even more interesting because his life is so well organized. Anna is just a catalyst for everything he probably wanted to happen one way or another, and that is why he will not stop their "collision course" when he still can. The inevitability of it all shows best at the end: he shows no remorse, or any other emotion, just acceptation. He was subconsciously wanting to put and end to the life he had been living so far. This is also a feeling that many people can relate to, I think. Yes, the end is a bit theatrical maybe, but it didn't bother me. I'd watch it again next week.

    Great movie. **** out of ****.
    8TheLittleSongbird

    The dark side of lust and betrayal

    My main reason for seeing 'Damage' was for the cast. Especially love Jeremy Irons, who very seldom has done wrong (in terms of performances that is, he has been in his fair share of misfires but is a bright spot in most of them). But also love a lot of Juliette Binoche's performances ('Three Colours: Blue' being particularly notable, she is astonishing in that) and the same goes for Miranda Richardson in much of her work.

    That the director was Louis Malle ('Au Revoir Les Enfants') in his penultimate film, and the composer was Krzysztof Kieslowski regular Zbigniew Preisner were further attractions. The themes of lust, passion, betrayal and the consequences of damage are not unfamiliar ones in film/tevision before 'Damage' or since it, but there is nothing wrong with that and when explored well in film/television they do leave a very powerful impact. Familiarity is not a bad thing, it's over-familiarity on top of not being interesting or unintentionally funny (or all of those) when it is a problem.

    'Damage' is, has been and is going to be, a beautiful and interesting film to some. To others, it is, has been and is going to be cold and dull. Count me in as somebody in the former camp, while totally seeing why it won't connect, and hasn't connected, for others and am not in any way going to hold that against them. It is not one of Malle's best films, nowhere near, and most of the actors have done better work before and since. Irons with 'Dead Ringers', sorry about going on a lot about this particular film but just love that film and his performance in it, and Binoche with 'Three Colours: Blue'. It is some of Richardson's best work though. With it not being a good or particularly fair representation of Rupert Graves in my mind.

    Found Graves to be wasted in an underwritten clueless dullard sort of role with nowhere near as much screen time as he should have done, his biggest scene/moment being one of the film's most memorable near the end. A shame because he has given numerous good to great performances, unforgettable for example in 'The Tenant of Wildfell Hall'.

    Some of the editing in the early parts of the film is on the rushed side, likewise with how the central relationship begins and unfolds so easily and quickly. Stephen's motivations could have gone into depth more.

    However, 'Damage' is beautifully and stylishly filmed and most of the editing is fine. The closing shot is very hard to forget. Preisner's score is hauntingly intimate, sometimes hypnotic and at other times ominous, which fits the tone more than ideally. Not some of his very best work, but Preisner even not at his very best still delivered. Malle shows no signs of fatigue in his directing despite it being his penultimate film, do prefer it when there is more of a personal touch to his direction seen in especially 'Au Revoir Les Enfants' (that film though is very personal, auto-biographical actually) but he is hardly out of his depth. Props to him to even attempt exploring a very interesting but difficult subject and do so as compellingly and bravely as he does.

    Morever, 'Damage' is thoughtfully and leanly scripted. The clear highlight in this regard being Richardson's big scene at the end (the one that garnered her the acclaim she got for her performance), will try not to spoil it too much but it sure does pack an emotional punch. Another highlight too, and the line to sum up the entire film, is the line from Binoche regarding the impact of damage. The story thematically is nothing new and from reading any basic plot summary sounds like familiar territory and very thin. It's the way the themes are explored that is unconventional and surprisingly insightful, lust and betrayal has seldom been portrayed in such a dark, intense and devastating way even when the film is deliberately paced. The tension does simmer and often when not a word is being said and when expressions are so subtle. Ingrid's big scene at the end is the dramatic highlight, searing in intimacy and devastating in emotional impact when seeing how much damage has been caused, got the sense that even Irons was trying to hold back emotion filming the scene.

    It does have to be said that 'Damage' has some of the most interesting love scenes of any film (easily), know very few films to have love scenes these gymnast-athletic and searingly intense while also being passionate and erotic enough, most of the passion coming from Irons though. Binoche apparently disliked working with Irons when his approach to the love scenes became too physical (there is that sense in the first one), but that dislike to me didn't come out on screen and liked that their chemistry wasn't overwrought. What is also interesting about 'Damage' is how it portrays the characters, particularly in Stephen and Anna being such polar opposites in type and their attitude to relationships

    Of the three leads, despite having the least to do Richardson is particularly great and is a fierce powerhouse at the end. That is obvious in terms of awards attention too, her performance was the most acclaimed of the three. When it comes to tortured characters, upper-class gentlemen with moral issues and understated intensity, Irons was one of the best, and he shows that here. Should be is, but he's had material well beneath him for a while now with some exceptions here and there that doesn't show those qualities anywhere near enough. Binoche is exotic and suitably despairing in one of her "sorrowful sisters" roles that she always played superbly and never in an over the top way, subtly expressive actually. Just to say that that phrase is her words and way of coining some of her roles, not mine. Leslie Caron is memorable in her small role.

    Altogether, not for all but to me it was very good with a few reservations. 8/10
    dwatts-1

    Very Good Human Drama

    I don't know. I have read some of the reviews here and some literate folk seem to me to want to wax lyrical about vapor. Meaning, sometimes people get a kick out of writing silly things.

    If this is the worse movie anyone has seen, then they've not seen many movies. I'm not saying it is for everyone, it's a long key affair, where everything is below the surface (which is actually referenced in the film over a dinner table scene) until finally it breaks free with horrendous results.

    Four great performances, Irons is brilliant as a man with great self-control who finds himself for the first time ever, obsessed. Richardson who nearly steals the entire film with a single scene near the end - writing years of personal grief across her face in bruises. Binoche who knows where safe harbor lies (with Peter) who cannot avoid destroying peoples lives. Graves as the ineffectual son, who knows he's in love with a woman in pain, but does not yet know how it will manifest itself.

    It's a good film. Beware of anyone who goes to extremes to say otherwise. It's not an easy film to ridicule. (ps. I watched the R2 DVD, it's an awful presentation - AVOID).
    apocalypse later

    Brilliant Satire

    For this viewer, this was a brilliant satire of the type of self-important love stories that always leave us little people feeling somewhat unworthy. Usually the "star-crossed" lovers are celebrated (Doctor Zhivago, The English Patient), but here they are shown to be what they really are - selfish, shallow morons, callously destroying all that surrounds them in the name of their "special" love. Excellent!

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    Romance

    Enredo

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    Você sabia?

    Editar
    • Curiosidades
      According to an article published by British newspaper The Daily Telegraph on November 16, 2004, Binoche snubbed Irons after he acted a French kiss a little too realistically in one of their love scenes. When questioned about the kiss during an interview published by The Daily Express on August 10, 2011, Irons answered: "Oh, I'm sure I did", and by way of explaining Binoche's distaste for his eagerness, said she was "a bit anti-man at the time" as she had just come out of a relationship. In an interview published by The Daily Telegraph on March 6, 2015, Binoche was asked which one of her British co-stars stands out for her, and she answered: "They're all in my heart, I tell you, even Jeremy Irons," and confirmed that they had a few problems together during the shooting.
    • Erros de gravação
      Early in the film when Stephen arrives home it is night. Yet once inside, when the maid draws the curtains, the garden outside is bathed in sunlight.
    • Citações

      Anna Barton: Damaged people are dangerous. They know they can survive.

    • Versões alternativas
      USA version removed 1 minute of sexually-explicit footage in order to secure a R rating. European unrated version is available on video/laserdisc in USA.
    • Conexões
      Featured in Siskel & Ebert & the Movies: Forever Young/Damage/Toys/Scent of a Woman/Used People (1992)

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    Perguntas frequentes17

    • How long is Damage?Fornecido pela Alexa
    • What are the differences between the R-Rated and Unrated Version?

    Detalhes

    Editar
    • Data de lançamento
      • 16 de abril de 1993 (Brasil)
    • Países de origem
      • Reino Unido
      • França
    • Central de atendimento oficial
      • Juliette Binoche: The Art of Being - Official Fansite
    • Idiomas
      • Inglês
      • Francês
      • Alemão
      • Italiano
    • Também conhecido como
      • Obsesión
    • Locações de filme
      • Shepperton Studios, Shepperton, Surrey, Inglaterra, Reino Unido
    • Empresas de produção
      • Nouvelles Éditions de Films (NEF)
      • Skreba Films
      • StudioCanal
    • Consulte mais créditos da empresa na IMDbPro

    Bilheteria

    Editar
    • Faturamento bruto nos EUA e Canadá
      • US$ 7.532.911
    • Fim de semana de estreia nos EUA e Canadá
      • US$ 101.707
      • 27 de dez. de 1992
    • Faturamento bruto mundial
      • US$ 7.532.911
    Veja informações detalhadas da bilheteria no IMDbPro

    Especificações técnicas

    Editar
    • Tempo de duração
      • 1 h 51 min(111 min)
    • Cor
      • Color
    • Proporção
      • 1.85 : 1

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