IMDb > Darling (1965)
Darling
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Overview

User Rating:
7.2/10   1,752 votes
MOVIEmeter: ?
Down 18% in popularity this week. See why on IMDbPro.
Director:
John Schlesinger
Writers:
Frederic Raphael (screenplay)
Frederic Raphael (idea) ...
more
Contact:
View company contact information for Darling on IMDbPro.
Release Date:
3 August 1965 (USA) more
Genre:
Drama | Romance more
Tagline:
A powerful and bold motion picture...made by adults...with adults...for adults! more
Plot:
A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties. full summary | add synopsis
Plot Keywords:
more
Awards:
Won 3 Oscars. Another 13 wins & 8 nominations more
NewsDesk:
(11 articles)
Tony-winning Actor Mokae Dies
 (From WENN. 16 September 2009, 5:16 AM, PDT)

[TV] Win The Fall and Rise of Reginald Perrin!
 (From JustPressPlay. 12 May 2009, 11:18 AM, PDT)

User Comments:
Fascinating mix of glitz and grit more (35 total)

Cast

  (Cast overview, first billed only)

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
more
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Additional Details

Runtime:
128 min
Country:
UK
Language:
English
Aspect Ratio:
1.66 : 1 more
Sound Mix:
Mono
Certification:
Hong Kong:IIA | Australia:M | Finland:K-16 | Sweden:15 | UK:X (original rating) | UK:15 (video rating)

Fun Stuff

Trivia:
Sam Costa and Fanny Cradock's roles were deleted from the final print. more
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. more
Quotes:
Miles Brand: Why, Carlotta. How savage we are tonight. Did someone go back to their wife?
Carlotta: If he had, you'd have been there to greet him.
more
Movie Connections:
Referenced in Factory Girl (2006) more

FAQ

This FAQ is empty. Add the first question.
5 out of 5 people found the following comment useful.
Fascinating mix of glitz and grit, 30 April 2008
Author: federovsky from bangkok

What a delight. Possibly the best of the British New Wave and one of the finest British films of all time. The story follows Julie Christie's rise up the social ladder by a succession of affairs and social posturing – she's infuriating, but you can't resent her behaviour, she is so natural and full of joie de vivre – impossible to keep in a cage. She first appears walking along the street swinging her handbag – the same entrance as she made in "Billy Liar" and surely an indication that we are dealing with essentially the same character. Bogarde, a television journalist, is the first man she takes up with, and is as serious as she is reckless, yet somehow they are well-suited and their relationship, with some painfully familiar ups and downs, is touching.

The emotional core of the film is Bogarde and Christie's visit to an old writer. This, her first step up the social ladder, gives her the thrill of being somewhere, doing something. It is also a gently melancholy and thoughtful scene. Humour and emotion come in equal measure throughout, and every exchange crackles with meaning:

Christie: "You used me!" Bogarde: "You used me. It's a moot point."

Christie really earned her Oscar for this. Her performance is full of humour and irony, but she's mainly being herself and she has a genuine sensitivity and humanity that lifts you and carries you along. Only some slightly flippant scenes with her photographer friend (especially the shoplifting scene which was too much like "Breakfast at Tiffanys") were a little out of alignment. But Schlesinger does special things throughout. Every scene is like a little self-contained story, so sharply done you can almost hear a snap at the beginning and end as it falls into place.

This is a big film, almost as big as "La Dolce Vita" which it sometimes echoes - better, perhaps, on account of the razor sharp script by Frederic Raphael which is so accomplished, smooth, intelligent, witty and ironic that it has an almost poetic quality while still being thoroughly down-to-earth. The ending is unexpectedly downbeat, and doesn't feel like the real end, just a line they had to draw somewhere - which is perhaps what the film really was all about: the lines that we have to draw at certain points in our lives that rule some things in, other things out, that enable us to go on, for better or worse. Really splendid stuff.

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Use of the f-word Brunswick84
Two Scenes kaelfan
Diana Scott = Grace Kelly ellichar
Academy Award Mix-Up StarrySky123Inf
Prurient question Belphunga
Is Diana really a Man? lexnlido2
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