“The Ruler Of Ambrosia”
By Raymond Benson
Director John Schlesinger emerged from the so-called British New Wave, or “Free Cinema Movement,” of the late 1950s/early 60s, that was typified by pictures made by maverick filmmakers working with low budgets and concentrating on working-class heroes in often bleak settings of smaller towns around Britain.
Billy Liar, based on the novel by Keith Waterhouse and the stage play by Waterhouse and Willis Hall (with a screenplay by Waterhouse and Hall), was Schlesinger’s second film, and it is an exhilarating demonstration of the director’s confidence and talent. Schlesinger would go on to direct such classics as Darling (1965) and Midnight Cowboy (1969).
Filmed in widescreen black and white, the tale focuses on Billy Fisher a young man who still lives with his stodgy parents and a grandmother in a Yorkshire town. He juggles three girlfriends and a job at a mortuary that he hates,...
By Raymond Benson
Director John Schlesinger emerged from the so-called British New Wave, or “Free Cinema Movement,” of the late 1950s/early 60s, that was typified by pictures made by maverick filmmakers working with low budgets and concentrating on working-class heroes in often bleak settings of smaller towns around Britain.
Billy Liar, based on the novel by Keith Waterhouse and the stage play by Waterhouse and Willis Hall (with a screenplay by Waterhouse and Hall), was Schlesinger’s second film, and it is an exhilarating demonstration of the director’s confidence and talent. Schlesinger would go on to direct such classics as Darling (1965) and Midnight Cowboy (1969).
Filmed in widescreen black and white, the tale focuses on Billy Fisher a young man who still lives with his stodgy parents and a grandmother in a Yorkshire town. He juggles three girlfriends and a job at a mortuary that he hates,...
- 4/28/2020
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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