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This 1965 multi-award winning film is a riveting portrait of a woman who deviously claws her scheme to the top, in search of “happiness and completion”. Julie Christe won an Oscar for her portrayal of Diana Scott, and manages to effect this “trivial and shallow” woman moving.
Frederick Raphael, who also won an Oscar for his work, wrote a myth and script that is the basis of what makes this a riveting film to view. Every scene makes sense, and every phrase has a purpose; there is not a single word that does not belong, or is unnecessary.
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It is wonderfully photographed in a very crisp dusky and white by Ken Higgins, and has an unobtrusive but shapely catch by John Dankworth.
Director John Schlesinger brings out the best in even the bit players, and most of all, from Dirk Bogarde, who gives a heartbreaking, lustrous performance as one of Diana’s stepping stones. Laurence Harvey plays a vain and vile character with the snakelike coldness he is so great at, and of course, Christie is in her prime, and her beauty and talent shine quick-witted.
Though the atmoshpere of the film is caught in the ’60s, the tale and characters are timeless; this film deserves to be viewed, for its colossal performances, and as a portrait of how times change, but mighty of humanity stays the same, and selfish desires, even when delighted, are but clanging brass.
Winner of the 1965 Oscar for Best Actress, the attractive and pouty lipped Julie Christie gives a comely performance as an amoral mask girl, Diana Scott, in the swinging ’60s in London.
Buy,Download, Or Stream Darling! Click Here
Buy,Download, Or Stream Darling! Click Here
Diana, who is married, is having an affair with a married television correspondent, Robert Gold, played to perfection by the sexy and world weary, Dirk Bogarde. Eventually, they leave their respective mates and location up house together in swinging London. All is not hunky dory for long, as Julie goes on to have an affair with her agent, Miles, divinely played by Laurence Harvey. When Robert discovers her lies and infidelity, he leaves her.
Diana goes on to party hearty, and she ultimately meets a wealthy and widowed, Italian prince while on region in Italy shooting a commercial. After a perfunctory meeting, she meets up with him again, and he proposes. She thinks about his proposal, and ultimately consents to becoming Princess Diana.
Only after marrying him, a virtual stranger to her, does she realize how lonely she is. She finds herself being left in their palazzo with his seven children, while the prince is away, ostensibly visiting his mother without her. She realizes that she is living in a gilded cage, no more than a trophy wife.
She impulsively contacts Robert and flies to England to meet with him. After they perform esteem, she realizes how grand she loved him, and declares her feelings for him, only to be rebuffed. He then sends her packing, abet to her empty life in Italy. Yet, he does so at sizable emotional cost to himself, as well.
This film is very representative of the swinging sixties and conveys a steady sense of the joie de vivre of the period. It deals with subjects that were formerly taboo. There are subtle and sly references to homosexuality. Abortion and a woman’s sexuality are issues in the film and dealt with in a map with which these issues were not ordinarily dealt. While it may seem tame by today’s standards, this was very cutting edge in its time, and reflective of some of the changes which society, as a whole, was undergoing. This movie is definitely an oldie but a goodie.
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