A Private War
Crazy Rich Asians
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All Critics (13)
| Top Critics (1)
| Fresh (13)
| Rotten (0)
| DVD (3)
One of the great movies of the 1960's.
A sturdy little film made with austere flatness by John Schlesinger.
At all kinds of points, one has the feeling that Schlesinger's film is running away from him; but there's also the impression of a talent energetic enough to risk even the occasional howling blunder.
It's the director's most assured work, and it includes Courtenay's greatest performance. The young actor balances zestiness and frustration, levity and rage, and never soft-pedals his character's more unsympathetic tendencies.
Not many classic films have also enjoyed success as a book, play, sitcom and musical. It's testament to the timelessness of Keith Waterhouse's source novel ...
A key work of the New British Cinema, Billy Liar features the impressive debut of director John Schlesinger and his first teaming with Julie Christie (before Darling).
Even though it's a seminal movie of the sixties, it never reached me emotionally.
... this portrait of ambition aching to break out of suffocating conformity and social expectation is viewed through the prism of fantasy and puckish humor...
a unique work in the British New Cinema movement
The Brits in the 60's did their own take on Thurber's popular Walter Mitty in this updated tale of a dreamer who is happiest in dreams. The climax, wherein our hero is offered the chance to finally live his dream, is the uncomfortable reality that known comfort might be better than unknown, and possibly uncomfortable, freedom. What makes this film interesting is how it summed up quite nicely the youthful unease felt by its generation and the forthcoming social revolution.
Billy Liar!" impressed me more than many other admirable British pictures of this era, like "Room at the Top", "The Loneliness of the Long Distance Runner" and "This Sporting Life". It managed to generate a more tangible blend of poignancy and amusement. It's not often humour of the "laugh-out-loud" nature, more of the subtle, grim kind. The reality of Britain at that time is I suspect, very well conveyed here, with the old working-class, represented by Councillor Duxbury (astutely played by the fine Finlay Currie) and Billy's family, very much at odds with what they see as an ungrateful, decadent youth. All the performances hit the intended mark, with Leonard Rossiter typically Rossiter, almost as a younger Rigsby, without so much noticeable seediness. Julie Christie is as good as the role allows, an odd role, very much the "dream girl" of Billy and I dare say a good few others. The film expertly avoids sentimentalizing matters by its cunning, apposite last section. The Danny Boon character is, one suspects, all too typical of the TV light entertainer mould in reality. His reliance on cheap non-gags, smug guffaws and "audience banter" is well conveyed in just a few short scenes. It's interesting that Billy seems to aspire so much to write for him in particular... Helen Fraser's character Barbara is wonderfully quaint; a type long gone it seems. One can understand Billy's frustrations with his respectively prudish and plain (Barbara) and ignorant (Rita) girlfriends, and his anger at his family, although some sympathy is correctly reserved for them. The direction is very good by Schlesinger, emphasizing all the right things. The fine context-setting opening montage expertly draws in the viewer, and never at any stage henceforth is anyone's attention likely to wane. The film is most of all Tom Courtenay's; he gives a truly resonant performance, bringing to vivid life a character far removed from the norms of film making at the time. The fantasy sequences are finely done, and all add more deep impression of this character. His digressive tendencies, self-destructive habits, economy with the truth are well balanced by a sense of yearning and imagination. One cannot help but like and relate to the character, a creation that resoundingly rings true. His ambivalence to the class system comes across concisely, in particular. A fine film indeed, with so many of the smaller touches that many films miss. Witty, sad and a seminal film of the era, very much a crossroads in British history.
I wasn't very impressed with this movie or any of the cast really, it wasn't very funny or enjoyable, but once in a while it has a funny moment, so it's an okay movie.
Billy Fisher's choice at the end left me thinking two things. first, that in order to find happiness one not necessarily has to leave all behind, because after all, that is just a state of mind and a excuse of society to break our individuality in pieces. And second, that Billy, being the irresponsible daydreamer that he is, is above all a coward and a cheeky conformist who wouldn't deprive himself from the pleasure and the importance he has as a refugee of his inner world, without caring much for anything else than fantasizing to escape mediocrity and boredom.
So as my writing may show, I found this picture utterly personal, wildly comic but also lugubrious, sad, like a dead end... or a hard smash on the floor after a light and pleasant flight of the senses.
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