Darling 4K 1965 Ultra HD 2160p

Story Movie

Diana Scott is a young attractive fashion model living in London. Diana firmly believes that she deserves a better life and strives for this goal by any means necessary. She has never been embarrassed by sexual liaisons for the sake of her future career. After a while she seems to manage to find her "treasure". She meets a famous journalist Robert Gold, who not only brings her into the high society, but also leaves his family for her. After a while Julie gets bored with this social circle. She wants even "more" - to become a movie star... Having abandoned Robert, who bored her, she marries an Italian prince. But having become Princess "Diana", she finds herself a prisoner in the palace of an Italian tycoon.

Review 4K Movie

John Schlesinger, like no other, could easily expose society's ills. This is evident in his famous Midnight Cowboy, and the same seemingly extraneous denunciation is present in the film Darling. In Midnight Cowboy, the director's criticism is directed at “consumer society,” a thoroughly corrupt metropolis with its cruelty, hypocrisy, and venal emotions. In Darling, the focus shifts from the general to the particular—here we see a striking representative of contemporary society, the “ideal woman” Diana Scott.

She is frivolous and empty. Diana's constant dissatisfaction with life is nothing more than an attempt to escape responsibility, to forget, if only for a moment, that she is useless in society. A poor actress, she is hypocritical not only on screen but also in her personal life, destroying Robert's family, getting tangled up with men, and ultimately finding herself in a kind of “golden cage.” Rich suitors take advantage of her and happily forget her, because behind her pretty face there is no inner substance, and is it even necessary among such superficial and deceitful people? Her encounter with a famous writer, whom she did not even know about, remains a strange flash of light in her life, like an unspoken hope for redemption, an inner struggle that will never happen.

Another important idea in this film is that an empty society is in decline. This is evident not only in the face of the pseudo-ideal woman on the cover of a glossy magazine, but also in the death of literature. True art is forced to surrender to the pressure of the new “masters of life” who trample on moral laws and are content with their own power. Literature, which carries eternal truths, instructs and uplifts the spirit, is no longer needed, just as sincerity, love, and compassion are no longer needed; everything is bought, everything is debased. Spirituality and faith have become a camisole that everyone stretches to suit their own tastes. Diana, chattering about faith, experiences fear and despair in an Italian church, as if realizing the futility of her existence. Striving for freedom, which in her understanding bordered on material satiety, she found herself at an impasse: married to someone she did not love, never having known the joys of motherhood, an eternal pursuit of fame that resulted in titles, wealth, and incredible loneliness. Perhaps the only moment in the film that makes you feel sympathy for the main character is the scene in which Diana, tearing off her jewelry and luxurious clothes, wanders from room to room, only to fall exhausted onto the bed, torn apart by despair and pain. The realization of her own mistakes came too late, and she can no longer fix anything. All she can do is smile artificially for the photographers, pretend to be a benefactor, reminisce about the past, and resign herself to her unenviable position.

However, in my opinion, the ending deserves special attention. Next to the “perfect woman” Diana, whose face gazes majestically at the viewer from the covers of magazines, the director shows an unattractive, overweight Italian woman singing in the crowd, as if comparing them and testing the strength and, most importantly, the truth of that very ideal, reworked by a society living by false values.