It took me a long time to figure out that the #BritishNewWave films are among my favorites. They best reflected my life in the 1960s even here in the US. https://en.wikipedia.org/wiki/British_New_Wave?wprov=sfti1

3 things about Tony Richardson’s THE ENTERTAINER [1960]

1. His swan song is a show entitled “Put Me Amongst the Girls.”
2. “Cheer up love, life isn’t as bad as all that, and even if it is, there’s nothing we can do about it.”
3. The curtain is raised before the audience has even finished leaving the theatre.

#3things #movies #BritishNewWave #TonyRichardson #LaurenceOlivier #cinemastodon

BILLY LIAR (’63): Another of those unique, memorable #BritishNewWave pieces. Tom Courtenay is said Billy, picking up his last name thru his propensity to lie about pretty much everything, big or small, meaningful or not. Creatively comedic, especially when he juggles the difficult sorta-fiancées. But this gains its heart in the third act, between family tragedy and the romance with Julie Christie. She’s so genuine and terrific here. Unforgettable sequence at the train station and finale too.

DARLING (’65): Julie Christie is a model who swings (pun intended) from one man to another over the course of two hours in this once-well-regarded #BritishNewWave film. Some really hate this now; I didn’t find myself in that camp, though will say it definitely feels like it’s of its time, and Christie (who won the Best Actress Oscar for this performance) doesn’t do much to make you like her. Did get a nice kick out of the ending.

THE SERVANT (’63): A reminder that you should never invite Dirk Bogarde into your house, for any reason really, but especially not to work as your servant. Bogarde is deliciously devious as he slowly but completely ruins his boss’ life. Embued with great style. Vera’s seductions of the boss were terrific- laid out in a wonderful fusion of music, lighting, photography. And that final scene - insane. #BritishNewWave

Spotify's main algo-driven #BritishNewWave playlist is entitled "Is It New Wave?" and TBH I often want to say "No, that song really isn't New Wave."

Are The Police New Wave? (Genuinely unsure on this one, but fairly sure, e.g., Billy Idol ain't)

I’ve become a low-key big fan of the #BritishNewWave. There’s something about the topics explored, the raw nature of the exploration, the intense performances, and how it all gels. A TASTE OF HONEY (’61) may be my new fave from the era. Devastating performances from Rita Tushingham and Dora Bryan as not-very-close daughter/mother who drift apart and then back as each wrestles with love challenges. A beautiful, thoughtful work.