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Inside Daisy Clover
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| Inside Daisy Clover | |
|---|---|
 Theatrical release poster | |
| Directed by | Robert Mulligan |
| Screenplay by | Gavin Lambert |
| Based on | Inside Daisy Clover 1963 novel by Gavin Lambert |
| Produced by | Alan J. Pakula |
| Starring | |
| Cinematography | Charles Lang |
| Edited by | Aaron Stell |
| Music by | André Previn |
| Distributed by | Warner Bros. |
Release date |
|
Running time | 128 minutes |
| Country | United States |
| Language | English |
| Box office |
|
Inside Daisy Clover is a 1965 American drama film based on Gavin Lambert's 1963 novel of the same name, directed by Robert Mulligan and starring Natalie Wood. It follows a tomboy becoming a Hollywood actress and singer.
Plot
[edit]In 1936, Daisy Clover is a tomboy living with her eccentric mother in a ramshackle trailer in the seaside town of Angel Beach. Wishing to become an actress, Daisy submits a recorded song to studio owner Raymond Swan.
Swan signs her to a contract for five years and arranges to commit her mother to a mental institution. Daisy meets and spends time with fellow actor Wade Lewis, but Raymond fears that the romance will interrupt Daisy's career. Wade asks Daisy to marry him and the ceremony is held at Raymond's house. During the honeymoon, Wade disappears and leaves Daisy in Arizona. When Daisy returns to California, Raymond's intoxicated wife Melora reveals that she had an affair with Wade, who is bisexual. Raymond confirms Wade's secret life to Daisy and begins an affair with her.
Daisy removes her mother from the institution to a house on the beach. When her mother unexpectedly dies, Daisy suffers a nervous breakdown. Unable to work, she spends her days at home under the care of a private nurse. Impatient with Daisy's long recovery, Raymond angrily asserts that she must finish her contract and pending film. After Raymond and the nurse leave the house, Daisy attempts suicide, only to be foiled by constant interruptions.
Daisy decides to leave everything behind. Before departing the beach house, she sets the oven's gas to full power and the house explodes behind her as she walks along the beach. When a passing fisherman asks her what has happened. Daisy replies, “Someone declared war.”
Cast
[edit]- Natalie Wood as Daisy Clover
- Christopher Plummer as Raymond Swan
- Robert Redford as Wade Lewis
- Ruth Gordon as Lucile Clover
- Roddy McDowall as Walter Baines
- Katharine Bard as Melora Swan
- Peter Helm as Milton Hopwood
- Betty Harford as Gloria Clover Goslett
- John Hale as Harry Goslett
- Harold Gould as Cop on Pier
- Ottola Nesmith as Dolores
- Edna Holland as Cynara
Reception
[edit]Upon its release, the film was a box office and critical failure.[2][3][4] However, the film later gained a cult following when it was shown on television and released on home video.[5]
The New York World-Telegram and The Sun found much to criticize: "[The film] conducts a spectacular travesty of some of Hollywood's preposterously lush nooks without stirring any notable amount of mirth. And it follows Hollywood's predatory smothering of an impulsive, endearing Cinderella without stirring much sentiment or sympathy... Oh! This pathetic innocent is hurt, hurt, hurt but no one cares, cares, cares so long as her picture is finished and rolls in dough, dough, dough... The makers of the picture do not care to make themselves altogether clear but there are hints of the depravity of its Hollywood in fleeting insinuations of dope and homosexuality. The orgies of sex and liquor are much more explicitly presented... [Natalie Wood] seems about to become the movie's biggest dubbing job since Rita Hayworth made her long series of musicals, coming equipped with a different voice for nearly every picture."[6]
Redford reportedly insisted that his character, gay in the original novel, have some interest in women. Warner Bros., fearful of the potential controversy, insisted that the film only acknowledge the character's bisexuality through brief and oblique lines of dialogue.[7]
The house that was destroyed at the climax of the film was once owned by actress Barbara La Marr.[8]
Accolades
[edit]| Award | Category | Nominee(s) | Result | Ref. |
|---|---|---|---|---|
| Academy Awards | Best Supporting Actress | Ruth Gordon | Nominated | [9] |
| Best Art Direction – Color | Art Direction: Robert Clatworthy; Set Decoration: George James Hopkins |
Nominated | ||
| Best Costume Design – Color | Edith Head and Bill Thomas | Nominated | ||
| Golden Globe Awards | Best Actress in a Motion Picture – Musical or Comedy | Natalie Wood | Nominated | [10] |
| Best Supporting Actress – Motion Picture | Ruth Gordon | Won | ||
| Most Promising Newcomer – Male | Robert Redford | Won |
Soundtrack
[edit]Wood's singing voice was dubbed by session singer Jackie Ward with the exception of the introduction to the song "You're Gonna Hear from Me" (by Dory Previn and André Previn, who composed the score).[11] The song was later recorded by Connie Francis in English for the album Movie Greats of the 60s (1966) and one year later in Spanish as "Ya te hablarán de mi" for the Spanish version of the album, Grandes Éxitos del Cine de los Años 60. It was also recorded by Dionne Warwick for the album The Windows of the World (1967), by Scott Walker on his debut solo album Scott (1967) and by Barbra Streisand for The Movie Album (2003).
Wood's vocal recordings, completed for other songs, were unused and unheard on commercial recordings until the Film Score Monthly CD #187 was released in April 2009.
See also
[edit]References
[edit]- ^ "Big Rental Pictures of 1966" (PDF). Variety Magazine. Vol. 245, no. 7. January 4, 1967. p. 8.
- ^ "Inside Daisy Clover : Review". Variety.com. Variety. December 31, 1964.
- ^ "'Inside Daisy Clover' Opens at Radio City". The New York Times. February 18, 1966.
- ^ Lambert 2004, p. 394.
- ^ Lambert 2004, p. 589.
- ^ Cook, Alton. "Gamin Grows Up, Hollywood-Style." New York World-Telegram and The Sun, 18 February 1966.
- ^ Kregloe, Karman (April 16, 2007). "Ten Actors Who Played Gay". AfterEllen.com. Evolve Media. Retrieved 26 September 2022.
- ^ Lamparski 1981, p. 73.
- ^ "The 38th Academy Awards (1966) Nominees and Winners". oscars.org. Archived from the original on 2015-01-11. Retrieved 2011-08-24.
- ^ "Inside Daisy Clover – Golden Globes". HFPA. Retrieved July 5, 2021.
- ^ Lambert 2004, p. 383.
Sources
[edit]- Lambert, Gavin (2004). Natalie Wood: A Life. Alfred A. Knopf. ISBN 0-375-41074-0.
- Lamparski, Richard (1981). Lamparski's Hidden Hollywood. New York: Simon & Schuster. ISBN 0-671-41885-8.
External links
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Wikimedia Commons has media related to Inside Daisy Clover.
Inside Daisy Clover
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Production
Development and pre-production
The film Inside Daisy Clover originated as an adaptation of Gavin Lambert's 1963 novel of the same name, which offered a satirical portrayal of Hollywood's studio system and the exploitation of young talent.[7] Lambert, drawing on his own experiences as a British screenwriter who had worked in the industry since the 1950s, penned the screenplay himself, incorporating significant modifications to suit cinematic structure while retaining the novel's critical lens on fame's dehumanizing effects.[8] These changes included streamlining the narrative for visual storytelling and emphasizing character arcs amenable to star performances.[9] Producer Alan J. Pakula and director Robert Mulligan, whose prior collaboration on films like To Kill a Mockingbird (1962) had established their affinity for character-driven dramas, acquired the rights to Lambert's novel and slotted it into their development slate at Pakula-Mulligan Productions.[3] This partnership prioritized projects with literary roots and social commentary, aligning Inside Daisy Clover with their interest in exploring institutional pressures on individuals.[10] Warner Bros. distributed the film under a deal that facilitated its production outside traditional studio oversight, though still subject to contractual constraints.[11] Natalie Wood, eager to transition from her established ingenue image in lighter fare like Sex and the Single Girl (1964), championed the lead role of Daisy Clover after reading and admiring Lambert's novel, leveraging her acquaintance with the author to secure involvement.[12] Her Warner Bros. contract permitted one external project annually, a slot she had recently exhausted, necessitating negotiations to frame the film—produced independently but distributed by the studio—as compliant, allowing her to star despite the logistical hurdles.[12] Casting for key supporting roles emphasized established talents to counterbalance Wood's central performance. Christopher Plummer was selected as Raymond Swan Sr., the manipulative studio executive, bringing his stage-honed authority to the character's paternalistic control.[13] Robert Redford, then emerging from television and early film roles, was cast as Wade Lewis, Daisy's charismatic yet troubled husband with implied bisexual leanings, marking an early showcase for his brooding intensity in a role that blurred traditional leading-man boundaries.[14] These choices reflected Mulligan's preference for actors capable of nuanced emotional depth amid the story's industry critique.[15]Filming
Principal photography for Inside Daisy Clover began on March 2, 1965, at the Warner Bros. studio lot in Burbank, California, and extended through early June 1965.[3] The production had shifted to Warner Bros. from Columbia Pictures in late 1964 after costs escalated beyond initial projections.[3] Shooting incorporated multiple locations to replicate the 1930s Hollywood and coastal environments, including the Santa Monica Pier doubling as the fictional "Angel Beach" pier and carousel for authenticity in seaside scenes.[16] Additional exteriors were filmed in Pasadena and Oxnard, California, with interiors and other sequences at the studio lot and Conrad Hilton's estate in Bel Air, Los Angeles.[3] These choices emphasized period-specific coastal and backlot glamour amid the Great Depression setting, though some observers later critiqued the overall visual style for inconsistent historical detailing.[7] On-set dynamics were influenced by cast interactions, particularly between leads Natalie Wood and Robert Redford, whose platonic friendship provided mutual support; Wood had advocated for Redford's casting in one of his early major film roles, and he later recalled easing her anxiety during a tense small-boat sequence at the Santa Monica Pier, complicated by rough waters.[14] Wood, who had undergone psychiatric treatment following a 1963 nervous breakdown and suicide attempt, approached the demanding role with personal resolve, viewing Daisy's isolation as resonant with her own recovery experiences.[17] This commitment persisted despite the physical and emotional toll of location work and Wood's transition from established ingenue to more complex characters.[12]Editing controversies
Warner Bros. mandated the removal of approximately 21 minutes of footage from Inside Daisy Clover during post-production, shortening the film to its final runtime of 128 minutes and altering its narrative structure to diminish the prominence of its homosexuality theme.[1][7] These cuts, executed to convert explicit suggestions of gay identity into oblique references to bisexuality, stemmed from studio executives' fears of controversy amid the Motion Picture Production Code's ongoing prohibitions on homosexual content, which persisted until its full replacement in 1968.[18] The edits disrupted scene transitions and pacing, particularly in sequences exploring character motivations and emotional breakdowns, prioritizing broad commercial appeal over the director's and screenwriter's original vision.[1] Natalie Wood, who portrayed the protagonist Daisy Clover, voiced frustration with the revisions, contending that they undermined her performance by excising key material that established the character's psychological depth and relational arcs.[7] The truncated footage reportedly included extended depictions of interpersonal tensions tied to the film's queer elements, leaving residual scenes feeling abrupt and less causally coherent, as the studio sought to evade backlash from conservative audiences and exhibitors in 1965.[1] This approach diverged markedly from Gavin Lambert's source novel, published in 1963, which presented the male lead, Wade Lewis (played by Robert Redford), as explicitly homosexual within a candid critique of Hollywood exploitation.[19] By muting these aspects to mere hints—such as ambiguous dialogue—the film sacrificed artistic fidelity for market safety, reflecting broader industry tendencies to self-censor under regulatory pressures rather than risk financial losses from frank portrayals of non-normative sexuality.[18][9]Synopsis
Plot summary
In 1936, fifteen-year-old tomboy Daisy Clover resides in a dilapidated trailer on the beach in Santa Monica, California, with her reclusive mother, whom she calls "The Dealer" due to the woman's incessant solitaire playing.[3] Daisy records novelty songs in a makeshift booth at the end of the nearby pier, and after mailing a recording to Hollywood studio executive Raymond Swan Sr., she attracts his attention and signs a seven-year contract with Swan Studios.[3] Swan orchestrates her transformation through rigorous acting lessons, vocal training, and aggressive publicity campaigns, including fabricating a backstory of humble origins, which catapults her to overnight fame as a recording artist and film star.[3] Daisy encounters Raymond Swan Jr., the studio head's son and a charismatic actor performing under the pseudonym Wade Lewis, during a film production.[20] The two marry impulsively aboard a yacht, but their honeymoon ends abruptly when Wade abandons her.[21] Daisy later discovers photographic evidence of Wade's homosexual affair with fellow actor Adam, confirming his concealed sexuality and leading to the dissolution of their marriage.[3] Concurrently, Daisy's mother dies, exacerbating her emotional turmoil amid the studio's exploitative control and the relentless demands of stardom.[20] Overwhelmed, Daisy experiences a severe mental breakdown, resulting in her commitment to a psychiatric institution.[3] She escapes the facility and returns to the Santa Monica pier, where she resumes recording songs in the booth, reclaiming her anonymous, pre-fame existence.[3]Cast and performances
Principal cast
Natalie Wood portrayed Daisy Clover, a 15-year-old tomboy from a Santa Monica trailer park who rises to fame as a singer and actress under studio control; at 27 during filming, Wood drew on her own trajectory as a child performer who debuted on screen at age four.[4][21] Robert Redford played Wade Lewis, Daisy's co-star and husband, a charismatic matinee idol concealing homosexual relationships to preserve his career image; this marked one of Redford's initial leading roles following minor TV appearances.[4][5] Christopher Plummer embodied Raymond Swan, the domineering studio executive who exploits Daisy's talent while evoking the autocratic style of historical moguls like Columbia's Harry Cohn.[4][22] Ruth Gordon appeared as Lucile Clover (also known as The Dealer), Daisy's reclusive and psychologically fragile mother living amid seashell mementos.[4] Roddy McDowall supported as Walter Baines, the studio's opportunistic publicity agent handling Daisy's image.[4]Character analyses
Daisy Clover undergoes a transformation from a resilient, tomboyish teenager scraping by in Depression-era Santa Monica to a commodified Hollywood starlet stripped of autonomy, her initial pluck eroded by industry machinations that expose her underlying fragility. Natalie Wood, at age 27 portraying a 15-year-old, infuses the role with authentic vulnerability, particularly in scenes depicting a suicide attempt and a nervous breakdown during a film shoot, drawing from her own child-star experiences to convey a layered mix of defiance and emotional rawness. However, post-production edits, including the excision of Wood's planned voiceover narration, fragmented the character's internal perspective, diluting the script's intent to foreground her psychological descent and rendering her arc more episodic than cohesive.[21] Raymond Swan, portrayed by Robert Redford, embodies a tragic figure whose bisexuality serves as a core flaw, fueling self-destructive impulses and a facade of heterosexual normalcy that ultimately unravels his marriage to Daisy. Redford's subtle performance captures the character's internal torment through restrained charisma and fleeting hints of unease, such as evasive glances and tense interactions, though studio-mandated adjustments—insisted upon by Redford himself to include genuine attraction to women—tempered the portrayal's edge, shifting it from outright homosexual tragedy to ambiguous bisexuality constrained by Hays Code-era censorship. This dilution manifests in the character's unexplicit same-sex leanings, discussed but never depicted, positioning Raymond as a closeted performer whose "sham" union with Daisy underscores his entrapment rather than fully exploring his queerness as a defiant identity.[23][24] Barry Swan, played by Christopher Plummer, represents the archetypal studio mogul whose paternalistic facade masks ruthless exploitation, methodically molding Daisy's raw talent into a marketable product while prioritizing profit over her well-being. Plummer's authoritative presence dominates through a Svengali-like command—cool, manipulative diction and imposing physicality—that establishes power imbalances, as when he orchestrates Daisy's rapid ascension and subsequent personal crises to sustain studio leverage. The character's arc aligns with script visions of industry overlords who feign mentorship to extract value, with Plummer's camp-inflected yet controlled delivery amplifying the satirical bite of his exploitative paternalism without veering into caricature.[25] Contrasts between Gavin Lambert's 1963 novel and the 1965 film reveal toned-down characterizations to broaden appeal amid censorship pressures: Daisy's sexual awakening, including explicit encounters, is sanitized; Raymond shifts from a overtly homosexual manipulator using marriage as cover to a vaguely bisexual figure with diluted conflicts; and Barry's machinations lose some novelistic cynicism for visual melodrama. These adaptations, per Lambert's screenplay revisions, prioritized Hays Code compliance and star input, muting the source material's sharper critique of hidden deviancies and exploitation for a less provocative Hollywood product.[9][23]Themes and stylistic elements
Hollywood critique
In Inside Daisy Clover, the character of studio mogul Raymond Swan embodies the era's executive overreach, securing 15-year-old Daisy's allegiance through a binding contract that subsumes her autonomy, fabricates an idealized orphan backstory to commodify her appeal, and engineers a publicity marriage to rising star Wade Lewis, all to maximize her marketability as a manufactured ingénue.[20][24] Swan later exploits Daisy's ensuing psychological fracture—triggered by revelations of deceit and relentless production demands—by institutionalizing her, rendering her obsolete once her output falters, thus illustrating talent as a fungible resource in a profit calculus indifferent to human cost.[7] This arc indicts the assembly-line ethos of 1930s Hollywood, where studios operated as vertical monopolies enforcing seven-year pacts that curtailed performers' agency over careers and personas.[26] The film's evocation of 1938 aligns with historical precedents of mogul dominion, as major studios like MGM exerted proprietary sway over contract players, scripting biographies, vetting relationships, and imposing regimens to sustain illusions of perfection for revenue streams.[27] Daisy's trajectory parallels Judy Garland's subjugation under MGM's regime: contracted at age 13 in September 1935, Garland endured 18-hour shifts on films like The Wizard of Oz (1939), with studio-mandated amphetamines to curb appetite and sustain wakefulness alongside barbiturates for induced sleep, precipitating dependency, weight fluctuations, and breakdowns that culminated in her 1950 termination after erratic behavior deemed unprofitable.[28][29] Such disposability stemmed not from personal frailty but from structural incentives prioritizing throughput over sustainability, as corroborated by the 1939 Coogan Act's mandate for trusts holding 15% of child actors' earnings, enacted post-Jackie Coogan's loss of $4 million to familial and industry predation.[30] By foregrounding these mechanics without glossing fame's allure, the narrative dismantles sentimentalized "rags-to-riches" tropes, tracing dehumanization to verifiable causal chains: unchecked executive fiat eroded identities, fostering isolation and collapse amid empirical patterns of child-star attrition, from Garland's institutionalizations to analogous declines in peers like Shirley Temple, who navigated predatory advances and exhaustive schedules before retreating from stardom by age 22.[31][32]Portrayal of sexuality
In Gavin Lambert's 1961 novel Inside Daisy Clover, the character Wade Lewis (referred to as Raymond, Jr. in some contexts) is explicitly homosexual, reflecting Lambert's own experiences as a gay author and his intent to critique Hollywood's concealment of queer identities.[31][33] In the 1965 film adaptation, however, Wade—portrayed by Robert Redford—is altered to exhibit ambiguous sexuality, with suggestions of bisexuality introduced via a late scene where Melora Swan (Ruth Gordon) drunkenly confesses an affair with him, implying attraction to women alongside his primary same-sex interests.[34][7] This revision stemmed from Warner Bros.' self-censorship, as the studio reshot footage and added dialogue post-production to evade explicit depiction, prioritizing commercial viability amid 1965's lingering Hays Code enforcement, which had classified homosexuality as unacceptable since 1934. Redford himself noted the character's non-explicit nature, underscoring the production's risk aversion.[34] The film's handling occurred in a pre-Stonewall cultural landscape, where homosexuality remained criminalized in most U.S. states—e.g., sodomy laws upheld until Lawrence v. Texas in 2003—and mainstream media depictions were confined to innuendo to avoid boycotts or bans, as seen in contemporaneous films like The Children's Hour (1961), which coded lesbianism through subtext rather than direct statement.[35] Warner Bros.' interference exemplifies broader 1960s studio practices, with over 20 major films from 1960–1968 undergoing similar queer content dilutions per analyses of Production Code Administration records, contrasting sharply with post-1968 MPAA ratings enabling franker portrayals, such as The Boys in the Band (1970). This tempered boldness—praised by some as progressive for including a non-villainous queer-adjacent figure who garners sympathy and a Golden Globe nomination for Redford—has drawn critique for undermining causal realism by prioritizing evasion over authentic representation, thereby perpetuating distortions in public understanding of sexual orientation.[34][35]Visual and musical style
Robert Mulligan's direction in Inside Daisy Clover employs a de-glamorized visual approach, stripping away the typical sheen of Hollywood musicals to underscore the industry's underbelly, as noted in contemporary analyses of the film's unconventional picture-making style.[36] Cinematographer Charles Lang, utilizing Panavision lenses for a 2.35:1 aspect ratio, captures the 1930s setting in Technicolor, with lighting and composition that emphasize emotional isolation amid opulent backdrops.[37][38] Production designer Robert Clatworthy's sets, including beach shacks and studio lots, aim for period evocation but have drawn criticism for insufficient historical accuracy, featuring anachronistic elements like modern hairstyles and minimal vintage detailing beyond select props such as automobiles.[39][7][21] The film's 128-minute runtime allows for deliberate pacing in visual sequences, where wide shots contrast Daisy's confined personal spaces against expansive studio glamour, enhancing thematic tension without relying on overt narrative exposition.[37] Lang's cinematography excels in atmospheric depth, often using color palettes to blend faded seaside realism with artificial backlot vibrancy, contributing to the film's dual role as both musical and critique.[38] André Previn's original score integrates orchestral swells with subtler jazz-inflected motifs, providing period-appropriate texture while maintaining a notably dark, introspective tone atypical for the genre.[40][41] Songs such as "You're Gonna Hear from Me," composed by Previn with lyrics by Dory Previn, feature in choreographed production numbers that highlight Natalie Wood's vocal delivery against stylized sets, juxtaposing performative exuberance with underlying melancholy through seamless musical-visual synchronization.[42][43] These sequences employ mono sound mixing to immerse viewers in the era's recording booth aesthetic, where Wood's renditions—often dubbed by Jackie Ward—blend with Previn's piano and orchestral backing for authentic musical drama.[37][44] The score's hybrid style, drawing on Previn's jazz background, underscores transitions between diegetic performances and ambient underscoring, avoiding bombast in favor of restrained emotional layering.[45]Release and commercial performance
Initial release
 Inside Daisy Clover had a limited pre-release engagement beginning with a premiere at the Pantages Theatre in Los Angeles on December 22, 1965, to qualify for the 38th Academy Awards.[3] The film's New York premiere occurred at Radio City Music Hall on February 17, 1966, marking a significant rollout event for Warner Bros.' distribution strategy.[46] This timing allowed for Oscar eligibility while building anticipation through major venue showcases tied to Natalie Wood's established stardom from prior hits like Splendor in the Grass.[12] Warner Bros. positioned the film as a showcase for Wood's talents, emphasizing its 1930s Hollywood setting and musical elements, including original songs, to evoke nostalgia and appeal to audiences seeking lighter entertainment amid the story's underlying dramatic tensions.[7] Promotional materials highlighted Wood's transformation into the quirky teen idol Daisy Clover, leveraging her image as a versatile leading lady rather than delving into the narrative's darker critique of industry exploitation.[47] The studio's approach avoided overt focus on controversial themes, such as implied non-traditional relationships, to ensure broad accessibility under the era's standards. As a 1965 production, the film received certification from the Motion Picture Production Code Administration, which governed content until 1968; subtle narrative adjustments, including restrained depictions of sensitive personal dynamics, facilitated approval without major cuts.[7] Following the New York opening, the picture expanded to national distribution in February 1966, capitalizing on Wood's draw to target urban and family-oriented theaters.[12]Box office results
Inside Daisy Clover had a reported production budget of $4.5 million.[48] Domestic box office earnings reached approximately $3 million (estimated from $1.5 million in US/Canada rentals). This figure represented an underperformance for Warner Bros., as the film's returns failed to fully offset costs, especially given Natalie Wood's drawing power from prior successes like Gypsy (1962), which generated stronger theatrical revenue.[49] Limited international earnings data exists.[50] The modest results contrasted with high-grossing musicals of the era, such as The Sound of Music (approximately $163 million domestic), highlighting how the film's atypical dark tone restricted repeat viewings and family attendance.[51]Critical reception
Contemporary reviews
Bosley Crowther of The New York Times panned the film as "triumphantly, all-round bad," criticizing Robert Mulligan's brooding direction for its lack of energy and the story's uneven pacing, which rendered the Hollywood satire dank, verbose, and ploddingly cynical rather than incisive.[46] He found Natalie Wood's portrayal of the neurotic protagonist underdeveloped and dull, save for one effective scene in a music booth, while Christopher Plummer's studio mogul came across as a bland ogre lacking menace.[46] Crowther also noted the film's evasive handling of Robert Redford's character as a homosexual matinee idol, revealed through a surprise sham wedding, reflecting the era's tentative approach to such themes amid lingering Hays Code influences.[46] In contrast, Variety highlighted strengths in performances and production elements, praising Wood for delivering more than her nebulous role demanded and Plummer for lending polish to the sadistic studio head.[11] The review acknowledged the showbiz satire's episodic structure—hopscotching through romance, stardom, and breakdown—as a weakness that left Daisy's character undefined and dialogue sparse, but commended Herbert Ross's staging of musical numbers as standout.[11] Overall, contemporary critics balanced appreciation for the leads' dramatic efforts against complaints of tonal inconsistency and narrative incoherence, viewing the subtle homosexuality hints as intriguing but ultimately sidelined in favor of broader industry cynicism.[11][46]Retrospective assessments
In the 21st century, critics have increasingly viewed Inside Daisy Clover as a prescient cautionary tale about the dehumanizing effects of fame and the Hollywood studio system's exploitation, themes that resonate amid ongoing discussions of industry burnout and control. Nathan Rabin, in a 2023 analysis, described the film as a "brutal cautionary tale" depicting how stardom crushes personal identity and autonomy, with Daisy's arc illustrating the soul-eroding causality of fame's machinery. Similarly, Danielle Solzman's 2020 review highlighted its accurate portrayal of Hollywood's cruelty, drawing parallels to real studio contract abuses and pressures on stars, positioning the film as ahead of its time in exposing these dynamics.[52][31] The 2020 Warner Archive Blu-ray release renewed appreciation for Natalie Wood's performance, often cited as a tour-de-force of vulnerability and defiance despite the character's youth relative to Wood's age of 27. Reviewers praised the edition's high-definition transfer for revealing the film's visual and auditory strengths, allowing clearer evaluation of its thematic depth without prior degraded media hindering perception. This technical upgrade facilitated deconstructions of the industry's soul-crushing underbelly, with Cinema Retro noting the film's prescient critique of personal sacrifice in pursuit of stardom. Wood's intense portrayal, produced amid her personal struggles including suicide attempts, has been tied in retrospectives to her biographical quest for mature roles challenging her child-star image.[26][31] The film's handling of sexuality, particularly Robert Redford's bisexual character Wade Lewis—originally scripted as gay but toned down for censors—has drawn mixed retrospective commentary. Some modern assessments critique it as dated or stereotypical by contemporary standards, yet defend its empirical boldness in 1965, post-Hays Code but pre-widespread normalization, as one of cinema's early realistic depictions of non-heteronormative identity amid industry constraints. This contextual progressivism underscores the film's unflinching causal realism on fame's personal tolls, even as aesthetic choices like its 1960s styling in a 1930s setting evoke era-specific limitations.[31][53][54]Accolades and nominations
Awards recognition
Inside Daisy Clover garnered nominations across several prestigious awards in 1966, reflecting recognition for its performances and production design amid a competitive field of films from 1965. At the 38th Academy Awards, Ruth Gordon earned a nomination for Best Actress in a Supporting Role for her portrayal of the manipulative studio executive Mrs. Clover Act, though she did not win; the category featured strong contenders including winner Shelley Winters for A Patch of Blue. The film also received a nomination for Best Art Direction-Set Decoration, Color, highlighting the work of Robert Clatworthy and George James Hopkins in recreating 1930s Hollywood aesthetics. The 23rd Golden Globe Awards provided more success, with Ruth Gordon securing the win for Best Supporting Actress, Motion Picture, validating her acerbic character amid nominees from films like Othello and A Patch of Blue.[6] Natalie Wood was nominated for Best Actress in a Motion Picture – Comedy or Musical for her lead role as the titular Daisy, a category dominated by established stars but where she competed without victory.[55] Additionally, Robert Redford, in an early breakout role as Daisy's husband, won the New Star of the Year – Actor award, marking an early accolade in his career.[6] Despite these honors, the film secured no Academy Awards, a outcome linked to its uneven pacing and editorial inconsistencies noted by contemporaries, which may have diminished its standing against more cohesive nominees in a year featuring titles like The Sound of Music and Doctor Zhivago.[56] The nominations underscored targeted merits in acting and design but highlighted the challenges of the film's mixed critical response in broader competitiveness.[57]| Award Ceremony | Category | Nominee | Result | Date |
|---|---|---|---|---|
| Academy Awards | Best Actress in a Supporting Role | Ruth Gordon | Nominated | April 5, 1966 |
| Academy Awards | Best Art Direction-Set Decoration, Color | Robert Clatworthy, George James Hopkins | Nominated | April 5, 1966 |
| Golden Globe Awards | Best Actress – Motion Picture Comedy or Musical | Natalie Wood | Nominated | February 1966[55] |
| Golden Globe Awards | Best Supporting Actress – Motion Picture | Ruth Gordon | Won | February 1966[6] |
| Golden Globe Awards | New Star of the Year – Actor | Robert Redford | Won | February 1966[6] |