At its best, Broadway Damage evokes the sweet melancholy of those post-college, twentysomething
years when you're ambivalently ready for the world. It's a time of financial and
emotional struggle, of occasional heartbreak, and of making mistakes, all made bearable
by youthful resiliency. The film begins with the painful spectacle of wannabe actors
Marc and Robert auditioning for an unspecified stage production. If truth be said,
they're not very good; in fact, they're just short of awful. To make ends meet, the
boyishly cute Marc works as a telephone operator booking tickets for Broadway shows,
living in a six-flights-up Greenwich Village flat with fellow alumna, Cynthia, who
spends most of her time irresponsibly using Daddy's charge cards. Marc and Cynthia
are a fine pair who perversely complement each other: he's fixated on meeting the
perfect-10 man of his dreams (much to Robert's chagrin), while she's obsessed with
harassing Vanity Fair editor Tina Brown for a job, despite a total lack of magazine
experience. Before it's all over, lessons are learned -- well, some critical self-evaluation
occurs -- and things end on something close to happily ever after. Although Broadway
Damage goes on a little too long, it's an engaging movie that remains true to its
modest ambitions. If it can be faulted for anything, it's that it's too agreeable,
lacking an edge that might have made it a more weighty experience. The performance
of Lucas, who plays the film's central character, Marc, leaves you with the same
feeling: it's nice, it's inviting, it's a tad bland. Of special camp interest is
Hobel in the role of Cynthia. Remember her? All grown up now, she played the girl-devil
Christina to Faye Dunaway's monstrous Mommy in that infamous movie about Joan Crawford's
maternal instincts. Whether Hobel is intentionally charting a career playing spoiled
brats remains to be seen, but there's one thing for sure: Nary a wire hanger is visible
in Broadway Damage.
--Steve Davis
Capsule Reviews
Broadway Damage 
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