She became a star, winning an Oscar (as did her dress designer) she was the ambivalent symbol for a new way of life, at once selfish, self-indulgent and highly desirable. Where Christie alighted was, cinematically, in the swinging London of Darling, the new trendsetting capital of the fashionable world, where she would play actress-model Diana Scott, cynosure of the new consumer society.
She then caught the night train to London, leaving Tom Courtenay’s hapless Billy to languish with his working-class provincial dreams. The movement was enacted in symbolic terms in Billy Liar, when Julie Christie as the free-spirited Liz, harbinger of miniskirts, discotheques, op art and permissiveness, promenaded in a northern high street. It’s when the drift north of the moviemakers who came out of the Free Cinema movement to form our own new wave suddenly ended, and they ( Karel Reisz, Tony Richardson, John Schlesinger et al) did a social and geographical about turn. T he year 1963 can be seen as a major turning point in British cultural history in general and British cinema in particular.
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