Darling

1965

Action / Drama / Romance

36
Rotten Tomatoes Critics - Certified Fresh 67%
Rotten Tomatoes Audience - Upright 73%
IMDb Rating 7.2 10 4522

Synopsis


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Cast

Julie Christie as Diana Scott
Laurence Harvey as Miles Brand
Dirk Bogarde as Robert Gold
Sheila Gish as Cameo
720p 1080p
874.29 MB
1280*720
English
TV-MA
24.000 fps
2hr 8 min
P/S 3 / 4
1.95 GB
1920*1080
English
TV-MA
24.000 fps
2hr 8 min
P/S 6 / 12

Movie Reviews

Reviewed by axlgarland 10 / 10

More than just a wonderful time capsule

To see this 60's landmark film is quite something. In many ways could be considered a period piece and at the same time it could have been conceived yesterday. Julie Christie's performance is the insurance "Darling" has to ensure its powerful sailing through the years into the forever ever. She is extraordinary! Schlesinger lets himself be guided by something other than his British restrain and fear of sentimentality here. He is tough and poetic telling us the story of Diana Scott (could had been Lady Diana Spencer to a T) with understanding and compassion but without trying to make her a sympathetic character. Julie Christie takes care of that in what, time will tell, in fact is already telling us, one of the best performances on film, ever.

Reviewed by blanche-2 9 / 10

London in the '60s in all its glory

Julie Christie is "Darling" in this 1965 film directed by John Schlesinger, and also starring Dirk Bogarde and Laurence Harvey. Schlesinger does a beautiful job of showing us '60s London as it was, and yet he managed to make a film that is just as timely now.

Julie Christie is model Diana Scott, a gorgeous, ambitious young woman who moves from man to man without attachment and with the intention of helping her career. She dumps her first husband and breaks up the marriage of a British journalist (Bogarde) and then moves on to a pleasure-seeking advertising executive (Harvey), and finally, marries an Italian prince. It's one of those lives that sounds great - she has beauty, money, men, glamour, travels in the circles of the beautiful people. But she has no emotional attachments, no love, and nothing that she has feels right or is anything she wants. All the external trappings of celebrity, but it's a shell.

A really terrific movie, and I have to agree with the posters whose comments I read that Julie Christie is perfection in every way. Bogarde and Harvey give her excellent support. As an aside, Christie's wardrobe is stunning.

None of the characters are very likable, except perhaps Bogarde, who in spite of leaving his wife and family does truly love Diana.

Despite the cold realities of Darling, we're even more obsessed with celebrity today, which makes the film even more interesting. But when you look at a photo, see someone in a magazine or on the screen, you're only dealing with a persona, not the flesh and blood individual. It's a fantasy. Darling shows the audience what's behind the fantasy - and it's not very pretty.

Reviewed by James Hitchcock 8 / 10

One of the very best

"Darling" is a good example of that short-lived genre, the "Swinging London" film of the sixties. ("Georgy Girl" and "Blow-Up" are others that come to mind). The film is among London's high society, not Society in the traditional aristocratic sense but the new high society of the up-and-coming class of the era, the celebritocracy of film and television personalities, of pop and sports stars, of fashion models and photographers. "Blow-Up" was set in the same social milieu, but whereas Antonioni's film was concerned with more philosophical issues, "Darling" is a social satire.

The central character is Diana Scott, a glamorous young fashion model, and the film follows her complicated love life as she seduces one powerful lover after another in an attempt to sleep her way to the top. She abandons her young husband, Tony, for Robert Gold, an influential television journalist, causing the break-up of his own marriage. (Robert's surname is clearly intended to have a symbolic significance, emphasising that Diana is a gold-digger). Diana then moves on to Miles Brand, a film producer who offers her more in the way of advantages than Robert, and ends up marrying Cesare, an Italian prince. Feeling trapped in an unhappy marriage, Diana attempts to return to England and to Robert, only to find that he no longer wants her. (The film's references to a "Princess Diana", unhappily married to an older man, have in recent years taken on a resonance they did not have in 1965).

Another reviewer has commented that whereas most satirical films have attacked authority figures or the traditional Establishment, the satire in "Darling" is aimed at the swinging jet-set themselves. (British literature has a long tradition of satire written from a conservative viewpoint, from John Dryden and Alexander Pope to Evelyn Waugh and Michael Wharton, but there does not appear to be a similar tradition in the cinema). For most of the film Diana seems cold, heartless and amoral; only at the end, after the failures of her marriage to Cesare and of her attempted reconciliation with Robert, does she show any sincere emotion. The other members of the celebritocracy that we see, with the partial exception of Robert, are equally shallow, selfish and given over to the pursuit of pleasure and self-interest. Cesare himself represents older, traditional values; the Italy that we see here is not the "Dolce Vita" world of Fellini and Antonioni but an older world of reserved, gentlemanly, Anglophile aristocrats. Cesare speaks a courtly, old-fashioned English, dresses like an English country gentleman and has decorated his palazzo in the style of an English stately home. Perhaps the fact that he is a foreigner has prevented Diana from realising what a conservative figure he is; given their completely different sets of values, the failure of their marriage comes as no surprise.

Julie Christie's Oscar for her role as Diana was in my view well deserved, but it seems to have come as something of a surprise, as Julie Andrews was expected to take the award for her role in "The Sound of Music". Certainly, "The Sound of Music", sentimental, warm-hearted and advocating family values, is the sort of film that the Academy have traditionally favoured. "Darling", by contrast, is an example of what in the sixties was a newer style of film-making: cool, deliberate and unemotional, taking a clear, cold-eyed look at society. (Another British film in this style is "Get Carter" from a few years later, which subjected the criminal underworld- a subject which in films is often glamorised or mythologised- to a similar scrutiny). Besides Christie, there is also a very good performance from Dirk Bogarde as Robert.

A term which is sometimes used about this film is "dated". Certainly, some of its aspects- the fashions, hairstyles, cars and slang of the sixties- have now all passed into history. It was among the last of the mainstream movies to be made in black and white, which in itself gives it an old-fashioned look to the modern generation, although in the sixties the photography was no doubt seen as crisp, clean and stylish. A modern film on a similar subject would doubtless be made in colour with more explicit sex scenes; references to matters such as homosexuality (it is implied that a photographer who befriends Diana is gay) and drug-taking would be more overt.

The subject-matter of the film, however, does not seem dated at all. Our own era has an even more all-pervasive cult of celebrity than did the sixties. Indeed, the very concept of celebrity has been debased. Whatever else it may have been, the celebritocracy of the sixties, the world of the likes of Terence Stamp, David Bailey, Jean Shrimpton, George Best, the Beatles and Julie Christie herself, was a meritocracy of talent, style and beauty. Today, television and the tabloid press are obsessed with the doings of people who have no greater claim to fame than being the ex-wife of a retired footballer, or a topless model, or someone who once took part in a "reality" TV programme. A modern remake of "Darling" might make for some interesting viewing. 8/10

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