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Everyone wanted to meet him, and powerful people were pushing substantial projects toward him, including Funny Girl and Fiddler on the Roof, both of which he turned down.
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Suddenly, after a decade-long apprenticeship making short, spirited documentaries for BBC Television and low-budget black-and-white feature films, John Schlesinger was the hot new thing, a movie director of wit, irony, and substance. The moviemaking capital of the world had recently embraced Peter O’Toole, Albert Finney, Sean Connery, Julie Andrews, and Michael Caine, and now it loved Julie Christie and the thoughtful filmmaker who had recognized and captured on film her seductive charisma. The year was 1966 and Hollywood loved new talent, especially when it came with a British accent. It was only Christie’s second major film, yet with Schlesinger’s careful direction, she gave such an adept and nuanced performance that she won the Oscar for Best Actress.
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She played Diana Scott, a thoughtless and predatory supermodel who broke up marriages, yawned her way through orgies, and generally set new records for narcissism and duplicity, yet radiated an irresistible charm and vulnerability that made you feel sorry for her even as you cheered her downfall.
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Darling, the British director’s third professional feature film, had been a surprise hit on both sides of the Atlantic, winning three Academy Awards and introducing international audiences to twenty-five-year-old Julie Christie, whose fresh looks and exuberant energy embodied the naughty spirit of Swinging London. John Schlesinger was looking forward to a triumphant entry on his first visit to Hollywood. I like the surprise of the curtain going up, revealing what’s behind it.