Darling (1965)
Directed by John Schlesinger
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.
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What critics compared Darling to
Like a gorgeous melody that drifts almost imperceptibly off key before descending into screaming discord, so Last Night in Soho slips seamlessly between harmony and dissonance, with nods to Julie Christie in Darling mutating into evocations of Jessica Harper in Suspiria .
Wright has asked all Venice audiences to keep specific plot details a secret, and that’s a good idea so we will leave it at that for the most part except to note a mysterioius stranger played by another 60’s icon Terence Stamp sends ominous signals, and Eloise, who by now has dyed her hair blonde for a Julie Christie “Darling” style look which is really cool, especially since I just coincidentally watched Darling again three weeks ago and have an Eloise-like obsession with the 60’s as well.
Si bien a colación de la película se han repetido hasta la saciedad los nombres de Argento, Bava y Nicolas Roeg (algo de culpa tiene Wright en esto último, aunque ahora se queje), también es verdad que las vidas paralelas de Thomasin McKenzie y Anya Taylor-Joy (ambas formidables en dos papeles aparentemente opuestos) serían muy distintas si en ellas no terciaran influencias menos evidentes, como cierta escuela de thriller psicológico made in UK ( Repulsión , sí, pero también Luz que agoniza ), los momentos más noir de la Ealing o el Free Cinema y sus derivados, como la Darling de John Schlesinger.
This conundrum has faced, and arguably gotten the better of, all three previous attempts to put the novel on the screen, most notably John Schlesinger's lavish, well-cast but lethargic 1967 version, which even Julie Christie, in the wake of her Darling/Doctor Zhivago ascendency, couldn't help bring to ground.
Julie Christie (hot after her best actress Oscar for another Schlesinger film, Darling) stars as Bathsheba Everdene, the headstrong country girl made good after inheriting her uncle's estate, who captivates devoted shepherd Gabriel Oak (Alan Bates), lonely landowner Boldwood (Peter Finch) and dashing soldier Sergeant Troy (Terence Stamp).
Written by Kubrick and veteran screenwriter Frederic Raphael ("Darling," "Two for the Road"), "Eyes Wide Shut" follows that pattern and, like those predecessors, makes its strongest impression not with dialogue but with virtuoso visual work.
The screenplay, by Kubrick and Frederic Raphael ("Darling"), demands -- and rewards -- close attention.