Billy Liar


1h 36m 1963
Billy Liar

Brief Synopsis

An emotionally stunted clerk retreats into his fantasies.

Film Details

Genre
Comedy
Drama
Adaptation
Release Date
Jan 1963
Premiere Information
New York opening: 16 Dec 1963
Production Company
Vic Films; Waterhall Productions
Distribution Company
Continental Distributing, Inc.
Country
United Kingdom
Screenplay Information
Based on the novel Billy Liar by Keith Waterhouse (London, 1959) and the play Billy Liar by Keith Waterhouse and Willis Hall (London, 13 Sep 1960).

Technical Specs

Duration
1h 36m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Synopsis

Billy Fisher's wild imagination is his only escape from a humdrum life in a northern England town. Whenever his stifling job as a clerk in an undertaker's office becomes too much for him or when his family's nagging efforts to make him conform overpower him, Billy retreats to "Ambrosia," a mythical kingdom conjured up in his mind. In "Ambrosia," Billy is king, general, lover, or any idealized hero that the situation of the moment makes him desire. Billy's dream of becoming a television scriptwriter in London has been encouraged by a well-known comedian to whom he sent samples of his writing. Before he can take any decisive step, however, Billy has two problems to settle: he is engaged to two different girls and in love with a third, and he must dispose of his employer's advertising calendars which he was unable to mail months earlier because he spent the postage money. On the day the comedian is scheduled to make an appearance in town, Billy offers his resignation to his employer, Mr. Shadrack. He is informed, however, that Shadrack knows about the calendars and that he will either have to make restitution or work off the debt. Later that afternoon, in a meeting with the comedian, Billy learns that the encouragement he received was merely a form letter. And at a dance that night, Billy's efforts to divide his time between both fiancées fail. The women come face to face and get into a hair-pulling battle, and both subsequently break their engagements to Billy. He escapes to a nearby park with Liz, the wild, unconventional woman he really loves. Liz convinces him to take his chances at making a success of his writing and leave with her for London at midnight. When he goes home to pack and inform his parents of his departure, he learns that his grandmother has been hospitalized. At the hospital, Billy is told of his grandmother's death, but he still plans to leave and bids farewell to his mother. He and Liz board the London train, but at the last moment he gets off, and the train leaves with Liz. Billy returns to the monotony of his small town life and to the security of "Ambrosia."

Photo Collections

Billy Liar - Movie Poster
Here is the original British One-sheet movie poster for Billy Liar (1963), starring Tom Courtnay and Julie Christie.

Videos

Movie Clip

Billy Liar (1963) - Open, Good Morning Housewives Fascinating opening title sequence from John Schlesinger's Billy Liar, 1963, starring Tom Courtenay, built around a radio program (Godfrey Winn the DJ) and shot primarily around Bradford, West Yorkshire, England.
Billy Liar (1963) - Count Five And Tell The Truth Again ducking his two fianceès (Gwendolyn Watts, Helen Fraser) Tom Courtenay (title character), finds Liz (Julie Christie), then claims a song-writing credit, John Schlesinger shooting on location outside the Locarno Ballroom, Bradford, England, in Billy Liar, 1963.
Billy Liar (1963) - A Day Of Big Decisions Ignoring his Mum, Dad and Gram (Mona Washbourne, Wilfred Pickles and Ethel Griffies) Billy (Tom Courtenay) enjoys a waking dream (featuring Julie Christie) of the Republic of Ambrosia in the first narrative scene from Billy Liar, 1963, directed by John Schlesinger.
Billy Liar (1963) - She's Been All Over With pal Arthur (Rodney Bewes), Billy (Tom Courtenay), having just dodged his two fianceès, glimpses preferred friend Liz (Julie Christie, her first scene in her breakthrough film), turning heads in Bradford, West Yorkshire, John Schlesinger directing on location, in Billy Liar, 1963.
Billy Liar (1963) - Genius Or Madman? Hiding his un-mailed calendars from his parents (Mona Washbourne, Wilfred Pickles) , Billy (Tom Courtenay) imagines himself a crusading writer under-cover in prison, emerging (from the real Wormwood Scrubs, London) to universal acclaim, in John Schlesinger's Billy Liar, 1963.

Film Details

Genre
Comedy
Drama
Adaptation
Release Date
Jan 1963
Premiere Information
New York opening: 16 Dec 1963
Production Company
Vic Films; Waterhall Productions
Distribution Company
Continental Distributing, Inc.
Country
United Kingdom
Screenplay Information
Based on the novel Billy Liar by Keith Waterhouse (London, 1959) and the play Billy Liar by Keith Waterhouse and Willis Hall (London, 13 Sep 1960).

Technical Specs

Duration
1h 36m
Sound
Mono (Westrex Recording System)
Color
Black and White
Theatrical Aspect Ratio
2.35 : 1

Articles

Billy Liar


The comic story of an imaginative young man who escapes his dull home life , numbing job and dreary industrial town through wild fantasies and fabrications, John Schlesinger's Billy Liar (1963) is often described as a British version of The Secret Life of Walter Mitty (1947). You can trace the roots back to James Thurber's original story, but it's nothing like the Danny Kaye movie of the meek dreamer turned courageous hero. Set in "the provinces" of the industrial north of England in the early sixties, it explores the same fears and frustrations that roil through Look Back in Anger [1958], The Loneliness of the Long Distance Runner [1962], This Sporting Life [1963] and other films of the early British New Wave of "angry young man" films. The difference is perspective: this portrait of ambition aching to break out of suffocating conformity and social expectation is viewed through the prism of fantasy and puckish humor and accomplished with a sprightly style and a succession of zany asides that, like Billy's fantasies, pinballs through the conventional world around it.

Tom Courtenay's Billy Fisher has boundless imagination but little discipline. "He can't say two words without telling a lie," complains Billy's dad (Wilfred Pickles), and he's not far from wrong. Fabrication is reflex with Billy, and not merely out of self-aggrandizement. It's an escape from a humdrum life, a game, an improvisational challenge in a world of straightmen, and Courtenay (who had earlier played the role on stage) gives it a wide-eyed sense of play. "Tom Courtenay had such an innocence that was right for the part," observed director John Schlesinger in 2001. In his imagination, he's not only the President of his own fictional country, he's every hero he can think up.

But there's a darker side to his playfulness. His daydreams swallow him up until he can barely function. When his grandmother has a spell, he gets so caught up making faces in a nearby mirror that he forgets all about retrieving her pills, like a child distracted by a balloon. (Today, you wonder if he'd be diagnosed with Attention Deficit Disorder.) And while he exasperates everyone around him with his impromptu impressions and goofy comic improvisations, he has little patience for the distractions of others. His suppressed frustration finds release in a recurring fantasy where he mows down everyone from his parents to his boss with a machine gun. At times his daydreams are interrupted and he explodes with rude outbursts and tantrum-like protests. He's unreliable at best as a clerk of a local funeral parlor, constantly late for work and more interested in goofing around with his work mate than actually getting any work done. The rest of his day is spent trying to dispose of the evidence of his failure to deliver hundreds of business calendars (for which he's already pocketed the postage money) and holding at bay the two girls who both believe they are engaged to Billy; one is a dim virgin who barely lets Billy kiss her and the other is a brassy, crude waitress who is far less prudish and far less tolerant of his excuses. The two girls even share the same engagement ring, which Billy schemes to keep swapping back and forth.

His real-life dream girl is Liz (Julie Christie), an old friend and a free spirit who lives the life that Billy only dreams of. Liz alone understands and appreciates Billy's creative streak. When she hears him fall into spinning a tale, she merely smiles at him until he catches himself and fesses up. Christie practically dances into the film as Liz, a natural beauty without a trace of vanity, bounding down the street with a sunny smile and not a care in the world. "The swinging handbag entrance was a very good entrance into this movie and into movies in general," recalled Schlesinger. "Julie has a kind of fresh, spontaneous quality, which was right for Billy Liar, because she has a free and easy style, and that's what caught the audience." Christie was not Schlesinger's first choice. He imagined Liz as an "ample, Earth mother figure" and he cast a young, vivacious actress named Topsy Jane in the role. It was only when she fell ill (some reports infer that it was a nervous breakdown) that Schlesinger called in Christie, who had auditioned for the role but delivered disappointing screen tests. It's hard to imagine anyone else in the role in hindsight. "I think the reason that we chose Julie... is that she has an indefinable screen quality," Schlesinger mused years later. "You want to watch her." Though she has barely ten minutes screen time, the performance earned her a BAFTA nomination and London Films Critics Award and launched her fledgling career.

Billy Liar was Schlesinger's second feature, and it reunited the creative team of his directorial debut, the well-received drama A Kind of Loving (1962): producer Joseph Janni and screenwriters Willis Hall and Keith Waterhouse, who adapted their own hit play (based on the novel by Waterhouse). For all the fantasy and comedy, however, it shares the working class milieu and the smothering social atmosphere of his first film. "When I first read the novel, I realized that it was about...this boy's need for a healthy fantasy life to get him through the difficulties he found with his family and his surroundings in the life he was leading." Schlesinger shot Billy Liar largely on location in the Northern England town of Yorkshire and establishes an atmosphere of staid conformity in a provincial city that is, quite literally, being demolished around him.

Schlesinger keeps up a bounding pace and a snappy series of comic asides and escapes through the first two acts of the film, most of it driven by Courtenay's energetic character turns. Schlesinger jumps from the dynamic absurdity of Billy's inner world to the mundane distractions of the real world in abrupt jump cuts and at times drops his fantasies into the CinemaScope frame like thought balloons in a comic book. It was somewhat adventurous for British cinema at the time yet it hasn't dated at all. Billy Liar is something of a time capsule, to be sure, a snapshot of the north of England on the cusp of a cultural upheaval, when the vitality and cosmopolitan culture of London was but an echo reverberating through the rest of the country; it's also alive with personality and yearning. It may have been a mere few hours away by train, but for Billy, it might well have been across the universe. Or only a daydream away.

Producer: Joseph Janni
Director: John Schlesinger
Screenplay: Willis Hall (screenplay and play), Keith Waterhouse (screenplay, novel)
Cinematography: Denys Coop
Art Direction: Ray Simm
Music: Richard Rodney Bennett
Film Editing: Roger Cherrill
Cast: Tom Courtenay (William Terrence 'Billy' Fisher), Wilfred Pickles (Geoffrey Fisher), Mona Washbourne (Alice Fisher), Ethel Griffies (Florence, Billy's grandmother), Finlay Currie (Duxbury), Gwendolyn Watts (Rita), Helen Fraser (Barbara), Julie Christie (Liz), Leonard Rossiter (Emanuel Shadrack), Rodney Bewes (Arthur Crabtree), George Innes (Stamp), Leslie Randall (Danny Boon), Patrick Barr (Insp. MacDonald), Ernest Clark (prison governor), Godfrey Winn (disc jockey).
BW-99m. Letterboxed. Closed captioning.

by Sean Axmaker
Billy Liar

Billy Liar

The comic story of an imaginative young man who escapes his dull home life , numbing job and dreary industrial town through wild fantasies and fabrications, John Schlesinger's Billy Liar (1963) is often described as a British version of The Secret Life of Walter Mitty (1947). You can trace the roots back to James Thurber's original story, but it's nothing like the Danny Kaye movie of the meek dreamer turned courageous hero. Set in "the provinces" of the industrial north of England in the early sixties, it explores the same fears and frustrations that roil through Look Back in Anger [1958], The Loneliness of the Long Distance Runner [1962], This Sporting Life [1963] and other films of the early British New Wave of "angry young man" films. The difference is perspective: this portrait of ambition aching to break out of suffocating conformity and social expectation is viewed through the prism of fantasy and puckish humor and accomplished with a sprightly style and a succession of zany asides that, like Billy's fantasies, pinballs through the conventional world around it. Tom Courtenay's Billy Fisher has boundless imagination but little discipline. "He can't say two words without telling a lie," complains Billy's dad (Wilfred Pickles), and he's not far from wrong. Fabrication is reflex with Billy, and not merely out of self-aggrandizement. It's an escape from a humdrum life, a game, an improvisational challenge in a world of straightmen, and Courtenay (who had earlier played the role on stage) gives it a wide-eyed sense of play. "Tom Courtenay had such an innocence that was right for the part," observed director John Schlesinger in 2001. In his imagination, he's not only the President of his own fictional country, he's every hero he can think up. But there's a darker side to his playfulness. His daydreams swallow him up until he can barely function. When his grandmother has a spell, he gets so caught up making faces in a nearby mirror that he forgets all about retrieving her pills, like a child distracted by a balloon. (Today, you wonder if he'd be diagnosed with Attention Deficit Disorder.) And while he exasperates everyone around him with his impromptu impressions and goofy comic improvisations, he has little patience for the distractions of others. His suppressed frustration finds release in a recurring fantasy where he mows down everyone from his parents to his boss with a machine gun. At times his daydreams are interrupted and he explodes with rude outbursts and tantrum-like protests. He's unreliable at best as a clerk of a local funeral parlor, constantly late for work and more interested in goofing around with his work mate than actually getting any work done. The rest of his day is spent trying to dispose of the evidence of his failure to deliver hundreds of business calendars (for which he's already pocketed the postage money) and holding at bay the two girls who both believe they are engaged to Billy; one is a dim virgin who barely lets Billy kiss her and the other is a brassy, crude waitress who is far less prudish and far less tolerant of his excuses. The two girls even share the same engagement ring, which Billy schemes to keep swapping back and forth. His real-life dream girl is Liz (Julie Christie), an old friend and a free spirit who lives the life that Billy only dreams of. Liz alone understands and appreciates Billy's creative streak. When she hears him fall into spinning a tale, she merely smiles at him until he catches himself and fesses up. Christie practically dances into the film as Liz, a natural beauty without a trace of vanity, bounding down the street with a sunny smile and not a care in the world. "The swinging handbag entrance was a very good entrance into this movie and into movies in general," recalled Schlesinger. "Julie has a kind of fresh, spontaneous quality, which was right for Billy Liar, because she has a free and easy style, and that's what caught the audience." Christie was not Schlesinger's first choice. He imagined Liz as an "ample, Earth mother figure" and he cast a young, vivacious actress named Topsy Jane in the role. It was only when she fell ill (some reports infer that it was a nervous breakdown) that Schlesinger called in Christie, who had auditioned for the role but delivered disappointing screen tests. It's hard to imagine anyone else in the role in hindsight. "I think the reason that we chose Julie... is that she has an indefinable screen quality," Schlesinger mused years later. "You want to watch her." Though she has barely ten minutes screen time, the performance earned her a BAFTA nomination and London Films Critics Award and launched her fledgling career. Billy Liar was Schlesinger's second feature, and it reunited the creative team of his directorial debut, the well-received drama A Kind of Loving (1962): producer Joseph Janni and screenwriters Willis Hall and Keith Waterhouse, who adapted their own hit play (based on the novel by Waterhouse). For all the fantasy and comedy, however, it shares the working class milieu and the smothering social atmosphere of his first film. "When I first read the novel, I realized that it was about...this boy's need for a healthy fantasy life to get him through the difficulties he found with his family and his surroundings in the life he was leading." Schlesinger shot Billy Liar largely on location in the Northern England town of Yorkshire and establishes an atmosphere of staid conformity in a provincial city that is, quite literally, being demolished around him. Schlesinger keeps up a bounding pace and a snappy series of comic asides and escapes through the first two acts of the film, most of it driven by Courtenay's energetic character turns. Schlesinger jumps from the dynamic absurdity of Billy's inner world to the mundane distractions of the real world in abrupt jump cuts and at times drops his fantasies into the CinemaScope frame like thought balloons in a comic book. It was somewhat adventurous for British cinema at the time yet it hasn't dated at all. Billy Liar is something of a time capsule, to be sure, a snapshot of the north of England on the cusp of a cultural upheaval, when the vitality and cosmopolitan culture of London was but an echo reverberating through the rest of the country; it's also alive with personality and yearning. It may have been a mere few hours away by train, but for Billy, it might well have been across the universe. Or only a daydream away. Producer: Joseph Janni Director: John Schlesinger Screenplay: Willis Hall (screenplay and play), Keith Waterhouse (screenplay, novel) Cinematography: Denys Coop Art Direction: Ray Simm Music: Richard Rodney Bennett Film Editing: Roger Cherrill Cast: Tom Courtenay (William Terrence 'Billy' Fisher), Wilfred Pickles (Geoffrey Fisher), Mona Washbourne (Alice Fisher), Ethel Griffies (Florence, Billy's grandmother), Finlay Currie (Duxbury), Gwendolyn Watts (Rita), Helen Fraser (Barbara), Julie Christie (Liz), Leonard Rossiter (Emanuel Shadrack), Rodney Bewes (Arthur Crabtree), George Innes (Stamp), Leslie Randall (Danny Boon), Patrick Barr (Insp. MacDonald), Ernest Clark (prison governor), Godfrey Winn (disc jockey). BW-99m. Letterboxed. Closed captioning. by Sean Axmaker

Quotes

Trivia

Notes

Opened in London in August 1963; running time: 98 min.

Miscellaneous Notes

Released in United States Winter December 16, 1963

Re-released in United States March 30, 2001

Re-released in United States November 17, 2000

The 2000 re-release is a newly restored 35mm print.

CinemaScope

Re-released in United States March 30, 2001 (Nuart; Los Angeles)

Released in United States Winter December 16, 1963

Re-released in United States November 17, 2000 (Film Forum; New York City)