Billy Liar (1963) - News Poster



Drive-In Dust Offs: Nightmare (1964)

While us horror lovers revelled in the ripped bodices and cobwebbed corridors of another vampire plagued castle, Hammer was busy trying to clear the halls and make their way into the modern world. Take Nightmare (1964), an effective black and white thriller that shows you don’t need fangs to be fearsome.

Released in its native U.K. in April and stateside in June, Nightmare (Aka the amazing Here’s the Knife, Dear: Now Use It) still has a lot of wandering down darkened hallways, but instead of coming up against the undead, our heroine has to do battle with her own brittle mind. Or has the dead come back for her?

Pity poor Janet (Jennie LindenOld Dracula). Our film opens with her hearing a distant voice calling her name. She leaves the comfort of her bed and follows the whispered voice which leads her to a shadowed room where
See full article at DailyDead »

Smackdown 1963: Three from "Tom Jones" and Two Dames

Presenting the Supporting Actresses of '63. Well well, what have we here? This year's statistical uniqueness (the only time one film ever produced three supporting actress nominees) and the character lineup reads juicier than it actually is - your Fab Five are, get this: a saucy wench, a pious auntie, a disgraced lady, a pillpopping royal, and a stubborn nun.

The Nominees 

from left to right: Cilento, Evans, Redman, Rutherford, Skalia

In 1963 Oscar voters went for an all-first-timers nominee list in Supporting Actress. The eldest contenders would soon become Dames (Margaret Rutherford and Edith Evans were both OBEs at the time). Rutherford, the eventual winner, was the only nominee with an extensive film history and she was in the middle of a hot streak with her signature role as Jane Marple which ran across multiple films from through 1961-1965. In fact, Agatha Christie had just dedicated her new book "The
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England is Mine review – generic Morrissey biopic saved by charming man Jack Lowden

The teenage years of the Smiths frontman are boiled down to a sentimental kitchen-sink drama that’s elevated by an honest performance from its lead

Morrissey gets the cuddly Billy Liar treatment in this weirdly generic movie about his early teen life in Manchester that sometimes seems to be straightforwardly channelling the kitchen-sink spirit of 60s British cinema that Morrissey famously adored – but with much less of the acid irony and alienation that he extracted from it.

Related: When did charming become cranky? Why a middle-aged Morrissey is so hard to love

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See full article at The Guardian - Film News »

No Trains to Ambrosia: Close-Up on John Schlesinger’s "Billy Liar"

Close-Up is a feature that spotlights films now playing on Mubi. John Schlesinger's Billy Liar (1963) is playing July 16 - August 15, 2017 in the United States as part of the series John Schlesinger's First Masterpieces.Billy Fisher, a cheerful twenty-something lad from Yorkshire, is going to have a great future. For now, he only has a small office position in his dull small city, but Billy has already landed a job in London writing for a popular TV comedian. He is also working on a novel that soon enough will bring him fame and fortune. He is also engaged to a girl. Actually, two girls. And he doesn’t really want to marry any of them. Also, the TV star doesn’t really know that Billy exists. And he hasn’t started on the novel. Billy just has a vivid imagination and speaks before he thinks—some people prefer to call it compulsive lying.
See full article at MUBI »

New to Streaming: ‘Colossal,’ ‘Stalker,’ ‘Suspiria,’ ‘Fallen Angels,’ and More

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Cameraperson (Kirsten Johnson)

Kirsten Johnson brings us her memoirs by way of a videographic scrapbook. Bits and pieces of the numerous documentaries she’s shot in her years as a Dp have been woven together into a travelogue / ethnographic study / commentary on the nature of cinematic framing. What was an establishing shot in one doc becomes, here, a study of the vagaries of a camera operator’s job. Documentary
See full article at The Film Stage »

More Gay Stars and Directors and Screenwriters on TCM: From psychos and psychiatrists to surfers and stage mamas

On the day a U.S. appeals court lifted an injunction that blocked a Mississippi “religious freedom” law – i.e., giving Christian extremists the right to discriminate against gays, lesbians, bisexuals, transgender people, etc. – not to mention the publication of a Republican-backed health care bill targeting the poor, the sick, the elderly, and those with “pre-existing conditions” – which would include HIV-infected people, a large chunk of whom are gay and bisexual men, so the wealthy in the U.S. can get a massive tax cut, Turner Classic Movies' 2017 Gay Pride or Lgbt Month celebration continues (into tomorrow morning, Thursday & Friday, June 22–23) with the presentation of movies by or featuring an eclectic – though seemingly all male – group: Montgomery Clift, Anthony Perkins, Tab Hunter, Dirk Bogarde, John Schlesinger, Tennessee Williams, Gore Vidal, Arthur Laurents, and Jerome Robbins. After all, one assumes that, rumors or no, the presence of Mercedes McCambridge in one
See full article at Alt Film Guide »

How David Storey's This Sporting Life created a great working-class film hero

Storey delivered a blast of energy to the dull early 60s with the character of Frank Machin, a rugby player who capitalised on the new magic of celebrity

David Storey, author of This Sporting Life, dies at 83

David Storey, in an unforgettable partnership with the director Lindsay Anderson, provided one of the great energising shocks of the 1960s, a blast of energy, smashing at the dullness, the complacency and hypocrisy of class-ridden Britain. Storey adapted his own 1960 novel This Sporting Life for the screen: Lindsay Anderson directed it, and won from Richard Harris a performance to rival Brando. He is Frank Machin, a gifted sportsman who wants to make it as a professional rugby league player (like Storey himself), but is poignantly in love with his widowed landlady, played by Rachel Roberts. Frank is a superstar on the field; he has money, success with women and a cocksure sense of
See full article at The Guardian - Film News »

45 Years

Andrew Haigh’s quiet, two-person relationship tale won a lot of friends last year. A revelation from the past changes everything in the marriage of Charlotte Rampling and Tom Courtenay. We read the faces, read the gestures — just like we do in our own close relationships.

45 Years


The Criterion Collection 861

2015/ Color / 1:85 widescreen / 95 min. / available through The Criterion Collection / Street Date March 7, 2017 / 39.95

Starring: Charlotte Rampling, Tom Courtenay, Geraldine James, Dolly Wells, David Sibley.

Cinematography: Lol Crawley

Film Editor: Jonathan Alberts

Production Designer: Sarah Finlay

From the short story by David Constantine

Produced by Tristan Goligher

Written and Directed by Andrew Haigh

Most filmmakers must find a way to chop down 800-page novels and still retain some semblance of the original. Others have the opposite problem, fleshing a short story to fill a feature length movie. The classic example is Ernest Hemingway’s The Killers, which is less than three thousand words in length.
See full article at Trailers from Hell »

The Criterion Collection Adds 45 Years, Being There, and Blow-Up, and Others For March 2017 #Criterion

  • ShockYa
The Criterion Collection Adds 45 Years, Being There, and Blow-Up, and Others For March 2017 #Criterion
45 Years In this exquisitely calibrated film by Andrew Haigh (Weekend), Charlotte Rampling (The Night Porter) and Tom Courtenay (Billy Liar) perform a subtly off-kilter pas de deux as Kate and Geoff, an English couple who, on the eve of an anniversary celebration, find their long marriage shaken by the arrival of a letter to Geoff that unceremoniously collapses his past into their shared present. Haigh carries the tradition of British realist cinema to artful new heights in 45 Years, weaving the momentous into the mundane as the pair go about their daily lives, while the evocatively flat, wintry Norfolk landscape frames their struggle to maintain an increasingly untenable status  [ Read More ]

The post The Criterion Collection Adds 45 Years, Being There, and Blow-Up, and Others For March 2017 #Criterion appeared first on
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‘Blow-Up,’ ‘Being There,’ ’45 Years,’ and More Coming to The Criterion Collection This March

Last month, The Criterion Collection finally announced their forthcoming release of Richard Linklater‘s The Before Trilogy and now with the announcement of their March titles, a few more highly-requested titles will be coming to the collection. Perhaps the most sought-after, Michelangelo Antonioni‘s English-language debut and counterculture landmark Blow-Up, will be arriving on the line-up.

Also coming is the previously teased 45 Years from Andrew Haigh, one of the finest films of last year (featuring an incredible, outside-the-box cover), as well as Hal Ashby‘s Being There, John WatersMultiple Maniacs, which recently got a restored theatrical run, and Felipe CazalsCanoa: A Shameful Memory.

Notable special features include a new documentaries on Blow-Up, Being There, and 45 Years, audio commentaries from Haigh and Waters, as well as a Guillermo del Toro introduction for Canoa, and a talk between the director and Alfonso Cuarón. Check out the full details for each release after the artwork.
See full article at The Film Stage »

A Taste of Honey

Elfin Rita Tushingham makes a smash film debut as Shelagh Delaney's dispirited working class teen, on her own in Manchester and unprepared for the harsh truths of life. It's one of the best of the British New Wave. A Taste of Honey Blu-ray The Criterion Collection 829 1961 / B&W / 1:66 widescreen / 100 min. / available through The Criterion Collection / Street Date August 23, 2016 / 39.95 Starring Rita Tushingham, Dora Bryan, Paul Danquah, Murray Melvin, Robert Stephens. Cinematography Walter Lassally Film Editor Anthony Gibbs Original Music John Addison Written by Tony Richardson and Shelagh Delaney adapted from her stage play Produced and directed by Tony Richardson

Reviewed by Glenn Erickson

The British New Wave got a real shot in the arm with 1961's A Taste of Honey. A stubbornly realistic drama about life in the lower working classes of Manchester, it was adapted from a near-revolutionary play by Shelagh Delaney, produced by Joan Littlewood. Here in
See full article at Trailers from Hell »

A Kind of Loving: Alan Bates in a clip from John Schlesinger's classic – video

Shot and set in Manchester in 1962, A Kind of Loving was one of the seminal kitchen sink dramas of post-war British cinema. Made before Darling and Billy Liar, the film stars Alan Bates as a young draftsman in pursuit of fellow factory worker June Ritchie, making her screen debut. In this exclusive clip, he pursues her on the bus trip back home

• The restored print of A Kind of Loving screens as part of the Cinema Rediscovered season at Watershed, Bristol on July 29 and is released on DVD and Blu-ray on 1 August

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See full article at The Guardian - Film News »

I Knew Her Well (Io la conoscevo bene)

She's beautiful, desired and enjoys a social mobility in the improving Italian economy... but she's also a pawn of cruel materialist values. Stefania Sandrelli personifies a liberated spirit who lives for the moment, but who can't form the relationships we call 'living.' Antonio Pietrangeli and Ettore Scola slip an insightful drama into the young Sandrelli's lineup of comedy roles. I Knew Her Well Blu-ray The Criterion Collection 801 1965 / B&W / 1:85 widescreen / 115 min. / Io la conoscevo bene / available through The Criterion Collection / Street Date February 23, 2016 / 39.95 Starring Stefania Sandrelli, Mario Adorf, Jean-Claude Brialy, Joachim Fuchsberger, Nino Manfredi, Enrico Maria Salerno, Ugo Tognazzi, Karin Dor, Franco Nero. Cinematography Armando Nannuzzi Production design Maurizio Chiari Film Editor Franco Fraticelli Original Music Piero Picconi Written by Antonio Pietrangeli, Ruggero Maccari, Etore Scola Produced by Turi Vasile Directed by Antonio Pietrangeli

Reviewed by Glenn Erickson

Did a new kind of woman emerge in the 1960s?
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On my radar: Tom Courtenay’s cultural highlights

The actor on David Foster Wallace, the Chateau Marmont hotel, his favourite local restaurant, Strictly and his loyalty to Hull City Afc

Tom Courtenay, who made his name in the 1960s in films that have become classics – The Loneliness of the Long Distance Runner, Dr Zhivago, Billy Liar – has been enjoying a tremendous new lease of life, at the age of 78, in 45 Years, directed by Andrew Haigh and co-starring Charlotte Rampling. It is a marvellous film about the delicate equilibrium of a marriage and what happens after a letter arrives one morning, out of the blue, with news that has the power to change everything. Courtenay plays Geoff Mercer with a convincing mixture of cussedness and vulnerability (as can be seen on DVD, out now).

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See full article at The Guardian - TV News »

My First Time in Variety: Tom Courtenay

My First Time in Variety: Tom Courtenay
Tom Courtenay, who stars with Charlotte Rampling in “45 Years,” was reviewed in Variety in 1960, for Chekhov’s “The Seagull” at the Old Vic. That led to the 1962 film “The Loneliness of the Long Distance Runner,” followed quickly by the movies “Billy Liar” (1963) and “Dr. Zhivago” (1965).

Did you always want to be an actor?

At grammar school, the head boy would do the day’s reading and I didn’t like the way he did it. I wanted to do it. And eventually I became the head boy. And later I went to University College London, which was on Gower Street and the real reason I wanted to go there was because it was close to Rada.

How did you start out?

After University College London, I did two years at the Royal Academy of Dramatic Art. I heard the head of Rada, John Fernald, wanted to do “The Seagull.” I
See full article at Variety - Film News »

Movie Poster of the Week: John Schlesinger’s “Far from the Madding Crowd”

  • MUBI
With Thomas Vinterberg’s retelling of Thomas Hardy’s Far from the Madding Crowd hitting theaters today, I thought it was a good excuse to look back at an earlier adaptation that spawned some memorable poster art.Made in 1967, John Schlesinger’s corseted rural love quadrangle was a far cry from the biting contemporary urban dramas like Billy Liar and Darling that had made his name. Schlesinger defended his decision to direct a big budget Victorian costume drama by saying “I wanted to get away from a contemporary subject. People are tiring of the flip side. Contemporary is dated,” but in ’67—the year so beautifully chronicled in Mark Harris’s Pictures at a Revolution as the year Old Hollywood ceded to the New—Far from the Madding Crowd, shot in 70mm and nearly 3 hours long, was inevitably overshadowed by the nowness of the likes of The Graduate and Bonnie and Clyde.
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DVD Review: 'Darling'

  • CineVue
★★★☆☆ John Schlesinger's Darling (1965), reissued this week for 50th anniversary celebrations, is at once a time capsule piece and an oddly prescient fable about vacuous, ephemeral celebrity which remains tartly relevant in 2015. It is perhaps best remembered as the film that crowned the imperial phase of Julie Christie's career with an Oscar, part of a golden run encompassing Billy Liar (1963), Doctor Zhivago (1967) and Don't Look Now (1973), and lasted right up until Shampoo and Nashville (1975). In retrospect, it's difficult to fathom why the award came for her portrayal of the one-note Diana Scott in this slightly confused film rather than for her spectacular performance in, say, The Go-Between (1971).
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Which is the greatest British film in history? No one seems to be in agreement

Best British movies of all time? (Image: a young Michael Caine in 'Get Carter') Ten years ago, Get Carter, starring Michael Caine as a dangerous-looking London gangster (see photo above), was selected as the United Kingdom's very best movie of all time according to 25 British film critics polled by Total Film magazine. To say that Mike Hodges' 1971 thriller was a surprising choice would be an understatement. I mean, not a David Lean epic or an early Alfred Hitchcock thriller? What a difference ten years make. On Total Film's 2014 list, published last May, Get Carter was no. 44 among the magazine's Top 50 best British movies of all time. How could that be? Well, first of all, people would be very naive if they took such lists seriously, whether we're talking Total Film, the British Film Institute, or, to keep things British, Sight & Sound magazine. Second, whereas Total Film's 2004 list was the result of a 25-critic consensus,
See full article at Alt Film Guide »

DVD Review: UK Release Of “Two Left Feet” (1963) Starring Michael Crawford, Nyree Dawn Porter And David Hemmings From Network

  • CinemaRetro
By Howard Hughes

(The following review is of the UK release of the film on Region 2 format.)

In Roy Ward Baker’s 1960s comedy-drama Two Left Feet, Michael Crawford plays Alan Crabbe, a clumsy and unlucky-in-love 19-year-old who begins dating ‘Eileen, the Teacup Queen’, a waitress at his local cafe. She lives in Camden Town and there are rumours that she’s married, but that doesn’t seem to alter her behavior. Alan and Eileen travel into London’s ‘Floride Club’, where the Storyville Jazzmen play trad for the groovers and shakers. Eileen turns out to be a ‘right little madam’, who is really just stringing Alan along. She’s the kind of girl who only dates to get into places and then starts chatting to randoms once inside. She takes up with ruffian Ronnie, while Alan meets a nice girl, Beth Crowley. But Eileen holds a strange hold over
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‘God Help the Girl’ is a spotty but largely winning pop musical

God Help the Girl

Written and directed by Stuart Murdoch

UK, 2014

In 2009, Belle and Sebastian mastermind Stuart Murdoch released a concept album under the guise of God Help the Girl, the name of both the album and the collective of musicians behind it. It was a break away from his Scottish band’s usual stylings in that it was primarily penned for female vocalists known and unknown, though male singers like The Divine Comedy’s Neil Hannon and Murdoch himself made memorable appearances on a few tracks. Additionally, while Belle and Sebastian’s most beloved songs can often be taken as their own singular, compelling tales, the God Help the Girl album was a larger narrative project, with the songs tracking protagonist Eve through various woes and successes. Five years later, a long-gestating film adaptation of the album has arrived, courtesy of producer Barry Mendel (Rushmore, The Royal Tenenbaums) and some support through Kickstarter,
See full article at SoundOnSight »
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