Don't listen to the negative reviews

Best movie of this year hands down!

Wow! What a bizarre film! Unfortunately the few funny moments there were were quite overshadowed by it's completely weird and random vibe throughout.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Billy Liar was awful. It was uninteresting and about nothing.An annoying character making up silly fantasies in his head, no thanks. Turned it off, which is rare for me I will usually just endure it.

Billy Liar (1963)Billed as a "gay" movie by TCM when they played this in 2017, and the basis for that is fair enough—director John Schlesinger was openly gay, and the feeling of this film is very much about being an outsider to a larger culture. Which in the early 1960s is what most gay men (and women) experienced.Heads up—this is a very British film, and it's on the cusp of a new Britain, getting out from World War II burdens and about to see the Beatles take over the world. In short, Mod England is in full swing, and the surprising new actress Julie Christie is key here. Maybe I'm just a guy, but I think the charm and honest presence of Christie from the first glimpse in a lorry (truck for you Americans) is a spark of life that tips the movie over. Great stuff.The star however is the title character, played by Tom Courtenay, whose real character name is Billy Fisher. He's terrific, playing a cad of sorts, someone who lives by effect, a former soldier (in his head) who has settled uncomfortably into his beloved England. The pace is crisp and the fast cuts are unusual for the time. There are oddities—early on he plays blackface in one scene (in his imagination), a woman in another (also daydreaming). It's farce top to bottom, and raw comedy. I think the British laughed harder by far than us poor Americans, but it's a lark and a fancy through and through. The flavor of it reminds me of "A Hard Days Night" and in fact they both come out of the so called British New Cinema.The film is imaginative in its structure, depending on the wandering thoughts of Billy to change the scene at will. It's cheeky but clever, and keeps you looking. And chuckling. As a comedy it might not be uproarious, but it never lets up its absurdity. It's called Billy Liar because Billy succeeds with his co-workers and family by making things up. Endlessly.Eventually you have to ask if the film can be read as an insight into being a gay man in these times. Certainly it can. It cheerfully points out how painful it is to be misunderstood and maligned for no good reason. It was easy to understand Billy as a a would-be success pushed down by his willing non-conformity. But it is also troubling to admit that this is something that is insinuated by TCM at the start—if you see the movie as a straight movie about an eccentric (not gay in particular) it has a different and less serious feel. Maybe it's fair to let it be both, or let it float depending on the viewer. Because it remains fast, inventive, and funny throughout. Even the camera-work is fun, with lots of wide angle and with moving pans across landscapes that distort the world. Appropriately.The final verdict: this is a film about the new England, the land of youth poking fun at the serious old school England of lore (and of WWII). It attacks this with necessary humor (not to offend absolutely everyone) and with visual pizazz. It wears slightly thin at times, and you do wonder what really matters about this aimless chap, but in all it's refreshing and revealing of the era. And it has Julie Christie in her first film. As she says with revealing authority, "I don't want to get engaged, I want to get married." Yeah.

Billy Liar is a 1963 British film that captures the monumental changes of the era: the sexual revolution and the destruction of England's old town centres in modernisation schemes. In Bradford, Yorkshire young Billy Fisher (Tom Courtenay) is working a soul-crushing job in a funeral home and suffering daily the derision of his elderly parents. His only escape from this drudgery is his active imagination, where he imagines himself leader of his own country and misleads other townspeople about his family's situation with little fibs. His propensity to make things up and shrug off his responsibilities, however, leads him to end up dating two women at the same time (Helen Fraser and Gwendolyn Watts), though ultimately he dreams of escaping with the liberated Liz (Julie Christie).As a snapshot of Britain at a particular time, this is a valuable film. As background to Fisher's own personal struggles, the camera often shows wrecking balls smashing down the walls of old homes, and at one point a town councillor marks an entire swath of the city for demolition. A scene at a dance club captures the growing influence of rock 'n' roll on Britain. Old class tensions persisted, however, though American audiences might not entirely get this as it is often suggested only by characters' particular accents.The overall message of the film is a letdown though, essentially saying that young people should give up their silly dreams and give in to their parents' demands. This moral lesson was entirely overturned by the youth revolution that erupted through the Sixties. As the UK saw full employment through that decade, young people could take the risk of following their dreams even if it meant a rupture with their families and hometowns. Nonetheless, the comedic approach in the film makes it entertaining almost throughout, and I'd recommend that anyone see it at least once.

From the opening montage of British homes, filmed with a fish-eye lens from a moving vehicle, where all the housewives inside are listening to their favorite songs on the radio, you know you're in for something quirky and fun. The first few scenes of Billy's home life, setting him up as a young Walter Mitty-type daydreamer, add to the slightly manic mood. Billy, we learn, is a lovable liar, not really trying to harm anyone, but causing trouble for his family, his employers, and especially for the two girls who think they are engaged to him (one a pure, devoted "girl next door" and the other a worldly-wise waitress).Billy has dreams of being a script writer for a famous comedian, and has almost everyone, including himself, convinced that he's on the verge of success. He's surrounded by people who don't understand him, except for one: Liz (a glowing young Julie Christie), who like him is a free spirit, flitting in and out of the boring routine of Billy's home town. She encourages him to follow his muse. But will Billy dare to take the step to make his dreams come true?A near-perfect script is brought to life by a cast of real characters, under the sure direction of John Schlesinger in glorious black and white. Tom Courtenay delivers a tour-de-force performance that you won't soon forget. A delightful film that's much more than just a comedy.