Darling Lili (1970)

Blake Edwards' unique blend of glamour, espionage, and romance comes to life in *Darling Lili* (1970), set against the lavish backdrop of World War I Paris. The story centers on Lili Smith, a renowned British music hall performer whose stage persona cleverly conceals her true identity as a German spy, Lili Schmidt. Tasked by her handler – her "uncle" – to uncover crucial Allied plans, Lili's mission is met with skepticism by a colleague who questions her capabilities due to her British origins. However, her focus soon shifts dramatically when she becomes entangled with the dashing American pilot Major William Larrabee. As Lili's connection with Major Larrabee deepens, her professional duties clash increasingly with her burgeoning personal feelings. Despite her handler's keen observation of her growing affection, Lili remains in denial about her love, with "things and people coming between her true fate." This central conflict, between patriotic duty and the undeniable pull of the heart, forms the dramatic core of this lavish musical comedy-drama, questioning where Lili’s ultimate loyalties truly lie and whether she can reconcile her dual identities. *Darling Lili* absolutely belongs on a list of Blake Edwards' best films, showcasing many of his directorial hallmarks. Edwards was a master of sophisticated genre blending, seamlessly combining espionage thrillers with romantic comedies and musicals, a complex feat *Darling Lili* executes with panache. The film features a strong, often elegant female protagonist – Edwards' wife Julie Andrews – who deftly balances humor, vulnerability, and a commanding presence, a common thread in his best works like *Breakfast at Tiffany's* and *Victor/Victoria*. Furthermore, Edwards excelled at creating visually stunning, often glamorous European settings, and *Darling Lili* is no exception, with its period detail and lavish production. It perfectly exemplifies his ability to craft narratives that explore themes of identity, deception, and the poignant conflict between duty and personal desire, all while maintaining his signature wit and a memorable musical landscape (though Henry Mancini contributed only the title song, the musical numbers are integral to Edwards' vision).