Darling 4K 1965

Surprisingly, although it is unlikely, one of the greats defined this before me, but the definition got lost in my pea brain, but I remembered the essence, which is that books have a conversation with each other—and there are no time limits or other constraints for them. Perhaps this is where their greatness lies. And there is a similar tradition in cinema.

Schlesinger's film does not speak to any specific films, as I am not familiar enough with films to know for sure. After some time, Darling, riding its waves, is reflected in history, in the lives of well-known people, predicting their fate, and perhaps in the lives of millions of others, whose names are known only to a few, or are immediately forgotten.

After all, who is Diana Scott? A dummy who thinks she's God knows what. “The perfect woman” — that's what television and the press call her. And Schlesinger, quietly chuckling into his then probably not-so-snow-white beard, does not rush to dissuade us or expose her to public ridicule. I can imagine him sitting in the director's chair, watching Julie Christie's transformation, remaining a cold and impartial witness to what is happening, not passing judgment or making assessments, thinking to himself: “Yes, yes, Diana, go ahead. Well, let's see what you have in store for us today...”

And Diana, feeling free and unrestricted in her actions, does whatever she wants. She is a terrible actress, and she is just as terrible in real life. In a sweet voice, she talks about her difficult life. John continues not to interfere, “Diana, do whatever you want, I'll just capture the image.” And that's where the charm lies! No matter what this flirtatious woman strives for, she remains unsatisfied. Unable to love and enjoy the little things, not only to take but also to give, which is more difficult than anything else, she will remain alone in a huge empty castle with a radiant smile on the covers of glossy magazines. And now, in 2010, millions, hundreds of millions of women read the stories and biographies of these “perfect women,” envying them and striving to be like them.

And in “Dear,” the moment of the death of the Word—Literature—and the arrival of the all-powerful ruler—cinema—is captured. The heyday of celebrity worship and celebrity battles, fans, fan clubs, and other frenzies will capture humanity and still hold it captive today. True, cinema will not last long, if we are to believe Marco Ferreri. And who is to blame for this? I will answer you. People like Bogard's character, reporter Robert Gold. The Word needs protection—Criticism. Just like cinema. And what is happening now? We forget, or do not know the past at all, or do not want to know it, we build, create, and construct emptiness. We gently stroke instead of giving decent slaps, or wiping it off the face of the earth altogether. Don't scare me with the end of the world, it has already happened. As pompous as it may sound.