“well, one just had to take a grip on oneself, that was all. i just knew the only possible hope was to fling oneself absolutely madly into one's work. it was either that, you know, or the ole gas oven.”
julie christie is some woman.
this film is the satirisation paradoxical nature of the swinging sixties mogul explored: diana scott manages (barely) to present as free-spirited, or that’s what she aims for. but how free-spirited? she toys in the ways of a temptress but to what extent can she freely do this? in cracked glimpses, you see her trapped, helpless in the bustling 60s london scene where one was supposed to feel liberated.
the seamless blend of tenacity and glamour in darling honestly makes its’ somewhat overstaying runtime acceptable and something i can overlook. all around, this is not only an important snapshot of the time, but of the british new wave movement, and it is expertly done by schlesinger.
“well, one just had to take a grip on oneself, that was all. i just knew the only possible hope was to fling oneself absolutely madly into one's work. it was either that, you know, or the ole gas oven.”
julie christie is some woman.
this film is the satirisation paradoxical nature of the swinging sixties mogul explored: diana scott manages (barely) to present as free-spirited, or that’s what she aims for. but how free-spirited? she toys in the ways of a temptress but to what extent can she freely do this? in cracked glimpses, you see her trapped, helpless in the bustling 60s london scene where one was supposed to feel liberated.
the seamless blend of tenacity and glamour in darling honestly makes its’ somewhat overstaying runtime acceptable and something i can overlook. all around, this is not only an important snapshot of the time, but of the british new wave movement, and it is expertly done by schlesinger.
