In that rare occasion for literary novels (at least the few I’ve read!), the characterizations all come alive for me. I thought each character brings something unique and memorable to the table, even if Billy scornfully lumps everyone but himself into one conforming category. Which isn’t inaccurate but within conformity, each person can still carve a niche. Arthur, his best buddy, has it figured out, so did the sage dinosaur Councillor Duxbury, and the free-spirited Liz, and all the wonderfully-drawn lively characters of distinct personalities. They understand Billy more than he does himself as they watch him march in circles to the beat of his own drum rather than face the music. He’ll come around, that is the hope, but until then he’s still just going round and round and round with London no nearer today than yesterday.

Billy also finds himself attracted to his former girlfriend Liz ( Julie Christie), who has just returned to town from Doncaster. Liz is a free spirit who, unlike anyone else in town, understands and accepts Billy's imagination. However, she has more courage and confidence than Billy, as shown by her willingness to leave her home town and enjoy new and different experiences. Under pressure, Billy ends up making dates with both Barbara and Rita to meet each one on the same night at the same local ballroom. There, the two girls discover the double engagement and begin fighting with each other. All of Billy's lies seem to catch up with him as it's announced publicly that he is moving to London to work with Danny Boon, and Billy's friend scolds him for lying to his mother.

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Waterhouse called the office a few days later, announcing airily that he had fulfilled his brief. "Where's the dog?" snarled the features editor. "Cardiff," answered Waterhouse. "That's no bloody good," came the reply. "The circulation drive is in the north-west. Find me a talking dog in Liverpool!" This distinguishes Billy Liar from another contemporary coming-of-age novel, The Catcher in the Rye. The latter is a frame story in which Holden Caulfield starts the novel in an institution (jail? Mental health facility?) from which he’s due to be discharged, and he reflects on events since the previous Christmas. But while Billy and Holden are each confronted with their failures and choose to flee, their outcomes and trajectories are very different. One suggests growth and maturation, the other suggests recidivism. Billy dreams big - of becoming a famous scriptwriter, of leaving behind his drab existence and running away to London and of making it with the wonderful free spirit played by Julie Christie in the film. And, somehow, we know that none of it will happen. His habitual embroidery of the truth, has left him tangled in a web of pointless lies. He has told: The title of the song " Twisterella" is also the title of a song that Billy co-writes in the novel.

The cross media adaptations did start not or end there though, Keith Waterhouse originally adapted it in to a stageplay which starred a young Albert Finney (who turned down the lead in David Lean's Lawrence of Arabia to play Billy!), his success in the movie adaptation of Saturday Night and Sunday Morning helping to making Billy Liar an overnight hit in the West End. On Greece preparing for the Olympicss: "Watching the Greeks make even more of a dog's breakfast of it than we would comes as a tonic for the nation." In 1960, the novel's author, Keith Waterhouse, co-wrote a three-act stage version with Willis Hall. The action took place on a single set combining the living-room, hallway, and porch of the Fisher household. The first production opened in the West End of London with Albert Finney in the title role. It has since been produced all over the world, and has become a favourite with amateur groups. The play was adapted for the Irish stage as Liam Liar by Hugh Leonard in 1976. [2] Some people may feel that "Billy Liar" is nothing but a comic diversion. How could a novel about a rather bumbling and ineffectual dreamer with a tendency to twist the truth be a mirror reflecting the issues and concerns of an entire generation? In my opinion, that is exactly what Keith Waterhouse managed to do here. This terrific fearlessly funny book reflects the mind of a type of kid reluctantly becoming an adult. I am of this type. Billy Fisher is a dreamy, ironic, funny kid confronted with conformity and small minds in a small town in England circa 1953. It all seems so pointless to Billy that he greases his path and enlivens the journey by embellishing the truth, making things up, well if one wants to call it that, and many do, lying.In 2005, the British Film Institute included it in its list of the 50 films that children should see by the age of 14. When I first saw the film in 1961 I was also intrigued by the glimpse it offered of a strange new world - the North of England! But you can’t hate him, because running through Billy is a streak of melancholia as wide as the River Thames. He knows he’s trapped in this small stifling town where nobody is on his wavelength. Not that you’d especially want to be on his wavelength. But still, we know that feeling. So underneath the mostly unfunny comedy is a sad familiar tale plus a whole ton of accurate detail about English provincial life in 1959, after Elvis but before the Beatles, and before the contraceptive pill too. He fought long crusades to highlight what he perceived to be a decline in the standards of modern English; for example, he founded the Association for the Abolition of the Aberrant Apostrophe, whose members attempt to stem the tide of such solecisms as "potatoe's" and "pound's of apple's and orange's" in greengrocers' shops. [7] [8]