Darling (1965)

The review positions the film as a definitive Swinging London movie that has gained gravitas, calling it a feminist picaresque about an It girl’s rise and moral emptiness, comparable in relevance to modern works like Barbie. It praises the Oscar-winning central performance, satirical screenplay, and lively cinéma vérité style capturing 1960s London.

The review praises the film as an astute snapshot of its era with ongoing relevance, highlighting Julie Christie's vivacious Oscar-winning performance and Dirk Bogarde's strong supporting turn.

The critic finds Schlesinger’s 1965 satire still possesses verve and ambition on its 60th-anniversary re-release, praising its witty take on swinging London and the director’s skill with innocents navigating society. Some dated elements and brittle dialogue are noted, but the overall energy and performances, especially Christie’s restrained lead, are highlighted positively.

John Schlesinger's witty exploration of jetset mores follows bubbly beauty Julie Christie as she finds the path to fame and fortune bumpier than imagined. These neglected 1960s British New Wave films are well worth a look.

The critic notes the film's sharp satire of selfish, ambitious social types in swinging London while portraying the heroine's restless quest. It is presented as a sleek, robust character study of modern mores.

The film is described as a British 'Dolce Vita' centered on an immoral young model who drifts through affairs and social climbing. Schlesinger's direction and Julie Christie's performance are singled out for strong praise.

The film offers an interesting portrait of the shallow nature of fame but overall fails to engage on an emotional level. It mixes satire of celebrity with attempts to show damage from that world, though the approach feels inconsistent and dated.

The review finds the first half engaging and beautifully shot but grows wary of its charm turning into soap opera in the later sections. Julie Christie is highlighted for her intense, unselfconscious performance.

The critic views the 1965 film as a glib and reactionary relic that feigns hipness while advancing a prudish moral agenda, but praises Julie Christie's performance as the film's lone sympathetic character despite the contempt shown to her role.

The piece describes Darling as a drab, meandering, and confused movie torn between a bitchy screenplay and visually clumsy direction, criticizing its aimlessness while noting Christie's beauty and the film's focus on her.

The critic views the film as emblematic of the rapid decline of the British New Wave, arguing that its studied script and derivative direction make it pretentious and out of touch with the lifestyles it depicts.

The critic sees the film as a compelling character study of its ambitious but dissatisfied protagonist Diana, reinterpreting her as a modern Faust figure prey to temptation and insecurity rather than a simple moral failure. It singles out Julie Christie's Oscar-winning intensity and Dirk Bogarde's humane performance for praise, while noting the film's sharp take on 1960s social issues and consumer culture remains timely in a restoration for its 60th anniversary.