John Schlesinger - Darling (1965)

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

One of the best movies to come out of the Permissive Society of the British 60s. This is also one of my all-time favorite movies. The opening sequence is classic. Julie Christie and Dirk Bogarde are geniuses (I have more Dirk Bogarde coming... as well as Christie, come to think of it).

I love love LOVE that Julie Christie plays a "Princess Diana."

from allmovie:

Julie Christie won an Oscar for her portrayal of a bored, amoral fashion model in this cynical melodrama from director John Schlesinger. Following the break-up of a teenage marriage, Diana Scott (Christie) drifts into the world of modeling and acting, where she meets a television news reporter, Robert Gold (Dirk Bogarde), who leaves his family for her and introduces her to a more powerful and wealthy set. Soon Diana meets somebody more attractive: public relations mogul Miles Brand (Laurence Harvey). After briefly leaving and then drifting back into Robert's life, experiencing an orgy and even getting an abortion, Diana eventually leaves the swinging London scene behind and settles down to an unfulfilling if comfortable life as the wife of millionaire Italian widower Cesare (Jose-Luis deVillalonga). Shocking in its day, Darling (1965) won Oscars for its costumes and script from Frederic Raphael. --

Few films provided more accurate commentary on London's Swinging Sixties than Darling: manifesting the era's amoral, carefree hedonism in its title character, the film is a satirical stab at a time and place too often padded by the forgiving dementia of nostalgia. Under the direction of John Schlesinger, the film skewers social values and any number of social types, from BBC intellectuals to empty-headed socialites to fashion world sycophants. A sly and witty two-hour dissection of what was wrong with contemporary England, Darling found its perfect case in point in Julie Christie's titular model. Alluring but shallow, vivacious but fickle, Christie's Darling is anything but a darling, providing both a central metaphor and a lightning rod for the film's ongoing ironic commentary. The fact that Christie won an Oscar for her disturbing portrayal points to her effectiveness as an actress and the resounding chord that her character struck among viewers and critics. Social satire had rarely come in a more photogenic package and was thus all the more devastating. Although centered on a distinct era and setting, Darling's satire remains as fresh and eviscerating as it was in 1965: how many viewers can fail to recognize the hypocrisies that continue to mark modern life? Timeless on almost any level, Darling is both a glorious indictment and a calculating documentation of an unforgettable time and place.











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