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Darling (1965)

TV-MA | | Drama, Romance | 3 August 1965 (USA)
A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties.


John Schlesinger


Frederic Raphael (screenplay), Frederic Raphael (idea) | 2 more credits »

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Won 3 Oscars. Another 15 wins & 8 nominations. See more awards »


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


Young, attractive and vivacious, model Diana Scott is firmly decided to become rich and famous as well. To succeed, she does not hesitate to take bold steps. After a while, she literally strikes gold: she meets Robert Gold, a well-known TV journalist, who not only introduces her into new social and professional circles, but also abandons his family to live with her. Diana seems to have happily combined success and love. However, in those roaring sixties, others are ready to offer her even more money, fame, and, seemingly, fun than Robert can... Written by Eduardo Casais <casaise@acm.org>

Plot Summary | Add Synopsis


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


Drama | Romance


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Official Sites:






Release Date:

3 August 1965 (USA) See more »

Also Known As:

Darling - A Que Amou Demais See more »


Box Office


£400,000 (estimated)

Cumulative Worldwide Gross:

$12,000,000, 31 January 2000
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Company Credits

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Technical Specs


Sound Mix:

Mono (Westrex Recording System)

Aspect Ratio:

1.37 : 1
See full technical specs »

Did You Know?


First full length feature of John Woodvine. See more »


When Robert and Diana are throwing things into the river, the tide is fully out. They see the derelict house, go and investigate and then discuss it outside again, when the tide is fully in. See more »


[first lines]
"Ideal Woman" Interviewer: Well, I do want our readers to feel that it is really your story; so, I thought I'd perhaps ask you a few questions and if you'd just answer them in your own words.
Diana Scott: Yes, I see. Alright, ask away.
See more »

Alternate Versions

The original UK cinema version was cut by the the BBFC to remove shots of a man wearing a woman's corset and to heavily shorten a scene at a party in Paris where guests watch a couple making love on a hotel bed (the scene was edited to end the scene before the male partner appears). Video versions featured the same print though the cuts were later found and restored for the 2007 Optimum DVD release. See more »


Featured in The 70th Annual Academy Awards (1998) See more »

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User Reviews

window into a sliver of social history
28 August 2010 | by mukava991See all my reviews

Darling is known generally as an iconic "Sixties" movie. It is at once a product of its time and a still-born anachronism. Though conceived and shot in 1964-65, there is nary a hint of the Beatles and their ilk, who by the time this film went in front of the cameras were unquestionably the major pop cultural phenomenon on earth, and certainly in Britain where this story takes place. The characters who parade before us in this slickly packaged satire are far more evocative of the earlier "La Dolce Vita" period. Perhaps the newly emerging youthful counterculture is absent because the groupings visited here are, in contrast to the many- millioned teenage Beatles fans, older, more rarefied and further up the social ladder in corporate boardrooms, haute-couture industry gatherings, mainstream television production units, the profit-driven B-movie exploitation industry, and the haunts of continental royalty. Sparkling and memorable as it is, the musical scoring by John Dankworth was also dated by mid-1965 when this film came out.

The satire is often from the finger-pointing, underscoring school. Best example: A portly dowager in furs at a charity function stuffs an hors d'oeuvre into her mouth with a bejeweled hand as a speaker pompously thanks those present for fighting the scourge of hunger in the world.

Screenwriter Frederic Raphael and director John Schlesinger organize their material in semi- documentary fashion with voice-over narration by the title character, Diana Scott (Julie Christie) in order to reveal her hypocrisy as she describes various episodes in her life while the unfolding screen actions ironically contradict her words. She portrays herself verbally as innocent, sensible and basically decent when in fact she's selfish, dishonest and miserable. The underlying causes of her selfishness, dishonesty and misery are neither explained nor explored, but she is presented in a way that encourages us to regard her as a micro-consequence of the crass, materialistic, soulless macro-society around her. The episodes in her bumpy road to despair succeed one another briskly enough to keep us diverted and shaking our heads at the imperfect human types on display. The arc of the story takes Diana higher and higher on the material plane until she can rise no more, only to find emptiness at the top. The point seems to be "looks, money and prestige aren't everything – but look how entertainingly we're presenting that platitude."

This film and Doctor Zhivago, released shortly after, made Julie Christie the most honored and publicized actress in the world for about a year and it's interesting to compare her Diana Scott with her Lara character in David Lean's epic. Lean, a stern and experienced taskmaster, got more solid acting out of her. Schlesinger's grip is looser, resulting in a more uninhibited but less disciplined performance. As one flavor of the media-created "It" girls of the Sixties (Ann Margret, Twiggy, Goldie Hawn being other flavors) she embodied a certain attitude toward life that was in the air in the industrialized world in those days, an informality of demeanor which some would call proletarian or others would call "beatnik"; hers was a looser, more naturalistic look, a beauty outside the parlor. Julie Christie was beautiful without a speck of makeup while the wind was blowing her hair in four different directions and seemed to be an entirely different person depending on which angle she presented to the camera or what kind of light was bouncing off her partly chiseled, partly soft and sensuous features. Her very presence lent a depth that may not have been written into the character. With another actress, one can only wonder how effective this film would have been. Her chief fellow players, Laurence Harvey and Dirk Bogarde, give splendid support, as does the rest of the cast. But the spotlight is definitely on Julie; it is her showcase.

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