Damage: INSPIRATION FOR THE NETFLIX SERIES OBSESSION

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All that ends when his son brings home a new girlfriend. The narrators falls madly in love with her, actually madly in obsession with her I should say, a triggering a tragic turn of events for all concerned. Yossman, K.J. (17 March 2022). " 'The Hobbit's' Richard Armitage, 'Peaky Blinders' Star Charlie Murphy Tapped For Netflix Thriller 'Damage' ". Variety . Retrieved 27 April 2022.

Formerly a director of Haymarket Publishing, Hart was a founder of Gallery Poets and West End Poetry Hour. She produced several West End plays, including the Evening Standard Award winner The House of Bernarda Alba by Federico García Lorca. Damage is a 1992 Psychological Thriller film directed by Louis Malle, starring Jeremy Irons, Juliette Binoche, Miranda Richardson and Rupert Graves.Josephine Hart, Baroness Saatchi (1 March 1942 – 2 June 2011 [1]), was an Irish writer, theatrical producer and television presenter who lived in London. Lady Saatchi wrote the novel Damage, which was the basis for the 1992 film of the same name, directed by Louis Malle and starring Jeremy Irons, Juliette Binoche and Rupert Graves. [2] It also formed the basis for the Netflix miniseries Obsession which premiered in 2023. [3] Early years [ edit ] 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. Interest in Hart's poetry is maintained by the Josephine Hart Poetry Foundation, a registered charity under English law. [4] References [ edit ]

But I did not die in my fiftieth year. There are few who know me now who do not regard that as a tragedy.” Everybody thinks two things about Netflix,” she said. “That we commission by algorithm – we don’t, we commission by human; they also think it’s all about global shows, and you’ve got to find a global show that appeals to somebody in India and somebody in Alaska.Actually the complete reverse is true. It’s all about authenticity on a global platform.” Hart reminds us that, when tragedy strikes, as when Anna’s brother Aston kills himself ‘silence, separation and sadness… become a way of life’ trapping us ‘in the unresolved agonies of long ago’. In some part, this is offered as a reason for Anna’s detachment, but we are not invited to judge, only to witness.

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After Damage, which told the story of a politician's obsession with his son's girlfriend, she went on to write another five novels: Sin (1992), Oblivion (1995), The Stillest Day (1998), The Reconstructionist (2001) and The Truth About Love (2009). Damage and Sin are to be reissued as Virago Modern Classics later this year, and Josephine felt that was a thrilling tribute. She loved the cover we at Virago proposed for Damage – a red rose bristling with thorns – and immediately I received a large bouquet of red roses from her, with a line from Marianne Moore: "Your thorns are the best part of you." The novel is populated by boringly correct English types who seem almost parodically perfect, civil and discreet. Their world is slowly and quietly devastated by the entrance into it of an almost blameless femme fatale, a damaged girl harboring a terrible secret so corrosive that it seems to destroy all she touches, though the recipients of her attentions fail to see -- or do see and ignore -- the inevitably painful consequences. The story is told from the perspective of a genteel middle-aged Englishman, Dr. Stephen Fleming, a physician and member of Parliament, who willingly constructs an alternate reality to justify his obsessive affair with her. As she happens to be the fiancee of his own son, the deception takes on particularly disturbing aspects. There is an internal landscape, a geography of the soul; we search for the outlines all of our lives"

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. Peter Travers of Rolling Stone magazine praised Louis Malle's direction of the film and a "faithful film version" in regards to the original novel by Josephine Hart. Of the cast, Travers was most favourable towards Richardson's performance: "Richardson is extraordinary; it's a brave, award-caliber performance." [9] Yet as a father, Roger fell short. He had always felt distant from his children. He and Ingrid were friends more than lovers in their less than passionate marriage. Likewise, Roger felt no compensating joy or passion for his career.

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Chilling and brilliant, Damage is a New York Times bestselling masterpiece of the romantic suspense genre. 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. His affair with Anna is both an awakening and a dream-state, a loss of self to the intoxication of desire, and a finding of the self.