Director: John Schlesinger Cast: Julie Christie, Dirk Bogarde, Laurence Harvey

DVD (Wide Screen / Black & White)

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Julie Christie won an Academy Award for her performance in this influential British drama, which gets a simple, but sound, presentation for its North American DVD release. Darling has been given a letterboxed transfer in the widescreen aspect ratio of 1.66:1 and the audio has been mastered in Dolby Digital Mono. The dialogue is in English with optional subtitles in English, French, and Spanish. The picture's original theatrical trailer has been included as a bonus.

Product Details

Release Date: 12/02/2003
UPC: 0027616899545
Original Release: 1965
Rating: NR
Source: Mgm (Video & Dvd)
Region Code: 1
Presentation: [B&W, Wide Screen]
Sound: [Dolby Digital Mono]
Time: 2:07:00

Special Features

Closed Caption; Original theatrical trailer; English, French, and Spanish subtitles

Cast & Crew

Performance Credits
Julie Christie Diana Scott
Dirk Bogarde Robert Gold
Laurence Harvey Miles Brand
Roland Curram Malcolm
José-Luis de Villalonga Prince Cesare
Basil Henson Alec Prosser-Jones
Helen Lindsay Felicity Prosser-Jones
Hugo Dixon Matthew Southgate
John Heller Gerhard
Angus MacKay Ivor Dawlish
Irene Richmond Mrs. Glass
Ernst Walder Kurt
Sidonie Bond Gillian
Margaret Gordon Helen Dawlish
Carlo Palmucci Curzio
Dante Posani Gino
Umberto Raho Palucci
Marika Rivera Woman
Alex Scott Sean Martin
Brian Wilde Willett
Pauline Yates Estelle Gold
Peter Bayliss Lord Grant
Richard Bidlake Rupert Crabtree
Annette Carell Billie Castiglione
Jean Claudio Raoul Maxim
Georgina Cookson Carlotta Hale
James Cossins Basildon
Tyler Butterworth William Presser-Jones
Lydia Sherwood Lady Brentwood
Lucille Soong Allie
Ann Firbank Sybil

Technical Credits
John Schlesinger Director
Miriam Brickman Casting
Jim Clark Editor
Johnny Dankworth Score Composer
David Ffolkes Set Decoration/Design
Kip Gowans Asst. Director
Julie Harris Costumes/Costume Designer
John Harris Camera Operator
Ken Higgins Cinematographer
Joseph Janni Producer
Bob Lawrence Makeup
Victor Lyndon Associate Producer
Frederic Raphael Screenwriter
Ray Simm Production Designer,Set Decoration/Design

Scene Index

Side #1 --
1. Main Title/"My Story" [5:02]
2. Nothing Deliberate [4:20]
3. Maturity in Adultery [8:10]
4. A Diplomatic Reception [7:40]
5. Charitable High Society [10:15]
6. Becoming Jacqueline [3:07]
7. Temporary Pregnancy [5:27]
8. Family Bliss & Boredom [6:40]
9. "Nice Mistake!" [5:44]
10. Paris for Fun [8:25]
11. Not to Hurt Robert [4:31]
12. Whores in Taxis [3:30]
13. The Happiness Girl [7:18]
14. That Fairy-Tale Family [5:42]
15. Capri Sexcapades [7:32]
16. A Princely Proposal [5:25]
17. "Amuse Me!" - "Get Out!" [6:07]
18. Nothing Left but Marriage [3:32]
19. The Lonely Princess [8:20]
20. Still a Couple? [10:21]

Customer Reviews

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Darling 4.5 out of 5 based on 0 ratings. 2 reviews.
Guest More than 1 year ago
The great surprise of the 1965 Academy Award ceremonies came when a near unknown British "bird" named Julie Christie was named Best Actress of Year—an honor that had once been the hard earned prize of long-time stars. Christie seemingly came out of nowhere, having been seen briefly in two memorable supporting roles: the swinging English girl who offers Tom Courtenay's modern day Water Mitty a chance to live out his wildest fantasies in "Billy Liar" (1963) and the lovely Irish lass who inspires Sean O'Casey (Rod Taylor) to write great poetry in "Young Cassidy" (1965). The Oscar made it clear Miss Christie would follow James Bond and the Beatles into the pop consciousness of Sixties America, already overcrowded with strong images from Britain. Many people doubted, though, that Christie could even act, for there was the lingering notion that in "Darling," she had merely been employed by Oscar-winning screen writer Frederic Raphael and director John Schlesinger as an extension of her own self—a symbol the amoral, live-for-the-present, media-hyped youth of modern London. By cinematically traveling along Diana's road in life, the filmmakers were able to document a cross-section of modern English types and, by so doing, turn their picture into a work of social commentary without that aspect ever overshadowing our dramatic interests in the central characters. As in Fellini's "La Dolce Vita," we see the paparazzi of a major city—the celebrities, the hangers-on, but mostly the ambitious photographers and reporters who chronicle them for the media-hyped and media-hungry public. "Darling" is, more than anything, a movie about the superficiality of the Sixties, all dressed up to look chic and sophisticated, in which the surface of things is readily available from a deluge of media outlets but nothing is explored in depth. This is a movie about the world of the McLuhan prediction: the new order of the complicated media machine presenting only an empty message, the world of form over content, of style over substance. The element that stands out most clearly in "Darling" is the total lack of honest emotions on the part of anyone in the drama. Laurence Harvey's advertising man is too Machiavellian, Dirk Bogarde's TV interviewer too embittered and absorbed in self-defeat, and Christie's model too totally amoral to feel anything honest or meaningful for another person, or for that matter, to elicit a strong feeling from us. In 1965 "Darling" appeared cold and strange, impossible to reconcile with the conventional films in which we feel strongly about almost everyone—even the heavies. But "Darling" would set a pace for the films of the latter half of the decade: cool, clinical, clever, and committed to the theme of lack of commitment. This, of course, had already been explored in the films of important, artistic filmmakers like Michelangelo Antonioni, whose pictures had impressed intellectual moviegoers with their ability to capture the empty, amoral ambiance of the Sixties. But these films appealed almost exclusively to intellectuals. With "Darling," the commercial cinema suddenly appeared to be catching up. "Darling" contained explicit four letter words, graphic bedroom scenes, and most significant of all, a refusal to offer any simple moral conclusion about this ennui-ridden existence. By closely studying and scrutinizing Julie Christie's character, Raphael and Schlesinger were able to focus on the person behind the perfect face we encounter every day on television, seducing us into buying products we neither want nor need the movie makers finally concluded that the character is as empty a vessel as the image itself. At one moment, as she is caught by a camera from precisely the right angle, Diana Scott displays an almost classic beauty a second later, all sorts of sordid, superficial emotions cross o
Anonymous More than 1 year ago