Darling (1965)

Director:

John Schlesinger

Writers:

Frederic Raphael (screenplay)
Frederic Raphael (idea) ...

Release Date:

3 August 1965 (USA)

Genre:

Drama | Romance

Tagline:

A powerful and bold motion picture...made by adults...with adults...for adults!

Plot:

A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties.

Plot Keywords:

Model | Fashion | Journalist | Love | Italy

Awards:

Won 3 Oscars. Another 13 wins & 8 nominations

Cast

Laurence Harvey	...	Miles Brand
Dirk Bogarde	...	Robert Gold
Julie Christie	...	Diana Scott
José Luis de Villalonga	...	Prince Cesare della Romita (as Jose Luis De Villalonga)
Roland Curram	...	Malcolm
Basil Henson	...	Alec Prosser-Jones
Helen Lindsay	...	Felicity Prosser-Jones
Carlo Palmucci	...	Curzio della Romita
Dante Posani	...	Gino
Umberto Raho	...	Palucci
Marika Rivera	...	Woman
Alex Scott	...	Sean Martin
Ernest Walder	...	Kurt
Brian Wilde	...	Willett
Pauline Yates	...	Estelle Gold

Runtime:

128 min

Country:

UK

Language:

English

Color:

Black and White

Aspect Ratio:

1.66 : 1

Sound Mix:

Mono

Certification:

Hong Kong:IIA | Australia:M | Finland:K-16 | Sweden:15 | UK:X (original rating) | UK:15 (video rating)

Filming Locations:

40-41 Wimpole Street, Marylebone, London, England, UK

Company:

Joseph Janni Production

Trivia:

Newspaper ads stated "In Dazzling Color".

Goofs:

Continuity: In a compartment on a train after their visit with the writer Southgate, Diana and Robert kiss. Both of Robert's hands touch her face in a close shot. When the angle changes to a shot from the corridor looking into the compartment, they are still embracing but Robert has a cigarette in his right hand which is resting on his knee.

Quotes:

Miles Brand: My impotence, my darling, makes a pair with your virginity.

Movie Connections:

Referenced in Factory Girl (2006)

More than just a wonderful time capsule

This is a breakthrough film depicting what a female with a fairy tale-like upbringing experiences when she gets into the real world. Julie Christie is magnificent as the free-spirited, swinging role model for women everywhere. She has men falling right and left for her and even promises of wealth beyond imagination. But her unfulfilment is perfectly depicted in this daring and innovative film. She falls for a famous dashing tele-journalist, but realises soon enough that she is no match for his brain. She falls for a slick and smarmy executive, hoping to find her place with the jet set. She sees the shallowness of that existence soon enough! She does eventually find some taste of fame and is swept away to Capri, one of the most romantic and beautiful spots in the world. But there she sees only the shallow reflection of her outer beauty when confronted with the deeper beauty of elderly women praying with grace and humility at a local church. She does also manage to meet a prince who wants to marry her. He gives her wealth, a title, an enormous glamourous estate, a tailor-made family (from a previous marriage) and his deepest admiration. Unfortunately, his admiration is no more deep for her than it might be for his prize horse or Rolls Royce. She has everything but love.

The film has much to say about the illusions of glamour that women are compelled to fulfil. They are compelled to fulfil those illusions because they never had an inkling that there could be anything else. Women could rub shoulders (and other body parts) with men of brilliance, of power, and of wealth, but their own surface existence could never be a match. The film is essentially a tragi-comedy, for beneath the delightful exterior of the film is the harsh reality that a surface life is no match for a life with purpose.

This film is also amazing because it is one of the few films that actually shows characters living in a real world, not just a world that revolves around the characters. Schlesinger fills the screen with a myriad of realities. The man on the street pontificating his views on city life, a famous author, celebrities, bohemians, a gay photographer who is not traumatised about what he is, and even that great symbol of solid innocence - the elderly woman feeding the pigeons at Picadilly Circus, they are all essentially equal in importance. We in fact are mainly introduced to Christie's character as she is plucked out of the street in an indiscriminate interview. She is much a product of the world as anyone else.

The film is still timely today, since there are still so many women who cling to the images and myths of ideal womanhood (ie: an illusion without soul or intelligence). All the performances are smashing. And yes, it is true, that swinging sixties feel is irresistible!