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Auckland Film Society – Billy Liar


Mon 29 Jun 2015, 6:30pm–8:10pm

Where: Academy Cinemas, 44 Lorne St, CBD, Auckland

Restrictions: All Ages

Ticket Information:

  • New Premier 12 Month Membership: $165.00
  • Returning/Concession 12 Month Membership: $140.00
  • 3 Film Sampler: $30.00
  • Special: New Membership - 2 Friends Joining at the same session: $140.00
  • Additional fees may apply

Listed by: AuckFilmSoc

Billy Liar
Director: John Schlesinger - UK 1963 - 98 mins, HD, black and white - PG cert
With: Tom Courtenay (Billy Fisher), Julie Christie (Liz), Wilfred Pickles (Geoffrey Fisher), Mona Washbourne (Alice Fisher), Ethel Griffles (Grandma Fisher)

“Released in the wake of the early social realist films of Karel Reisz and Tony Richardson, Schlesinger’s physical world is the same – northern and working-class – but his approach to social commentary and storytelling, as adapted from Keith Watarhouse and Willis Hall’s book and play, is more playful and less concerned with realism than films like Taste of Honey and Saturday Night, Sunday Morning. Schlesinger’s Billy (Tom Courtenay) is a confused young man with too much imagination for considering kitchen sinks: nominally he’s an undertaker’s clerk, but his real job is to carve a parallel, fantasy world for himself, whether leading men to war in a state called Ambrosia or forging himself a career in showbiz. Billy’s endless lies feel less like deceptions and more like an expression of the conflicts within a young man who’s uneasy in a fast-changing world. Funny and unexpectedly poignant.” — Dave Calhoun, Time Out

"For all its brilliant comedy, the movie is also a poignant study of indecision. The world seems to offer the tantalizing possibility of freedom, embodied by Liz – played by Julie Christie – a girl who, in Billy's envious description: ‘Goes where she feels like. She enjoys herself. She's crazy.’ Billy, for all his wild imaginings, may be too afraid to escape from the drab reality that imprisons him. What is remarkable about Billy Liar is that it recognizes this drabness without succumbing to it.” -- Dana Stevens, NY Times

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