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Darling

Darling

Drama · Romance · 1965

Diana, a beautiful but shallow and easily distracted model and failed actress, toys with the affections of several men while attempting to gain fame and fortune in Swinging London.

Movie details

Darling

“When she was good she was very, very good… and when she was bad she was DARLING!”

1965 Drama · Romance 2h 8m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

Diana, a beautiful but shallow and easily distracted model and failed actress, toys with the affections of several men while attempting to gain fame and fortune in Swinging London.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Darling?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Gia

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Reporter Charles Wills, in Paris to cover the end of World War II, falls for the beautiful Helen Ellswirth following a brief flirtation with her sister, Marion. After he and Helen marry, Charles pursues his novelistic ambition while supporting his new bride with a deadening job at a newspaper wire service. But when an old investment suddenly makes the family wealthy, their marriage begins to unravel — until a sudden tragedy changes everything.

Where it lives

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Names above the title

The people responsible.

Directed by

John Schlesinger

Written by

Frederic Raphael

Julie Christie

Julie Christie

Diana Scott

Dirk Bogarde

Dirk Bogarde

Robert Gold

Laurence Harvey

Laurence Harvey

Miles Brand

José Luis de Vilallonga

José Luis de Vilallonga

Prince Cesare della Romita

Roland Curram

Roland Curram

Malcolm

Basil Henson

Basil Henson

Alec Prosser-Jones

Dante Posani

Dante Posani

Gino

Court is in session

Put Darling on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.