Steve Buscemi’s favourite British movie: “One of the saddest endings to a comedy”
Despite being deemed by some to have been cheated of accolades—he has been repeatedly described by film critics as one of the best actors to have never received an Academy Award nomination—Steve Buscemi is always enthusiastic about praising others’ achievements. He recently listed his top ten favourite films for The Criterion Collection, and the film that he ranks first may come as a surprise.
Known for his character acting and appearing in well-known features including Mystery Train, Reservoir Dogs, and Armageddon, Buscemi has also collaborated with the Coen brothers many times, on projects such as Fargo, Barton Fink, The Big Lebowski and more. Not one to look down on any part, he has also appeared alongside Adam Sandler in various supporting or cameo roles. On the other side of the camera, he’s also served as a writer and director, helming films including Trees Lounge, Animal Factory, and Interview, while his television direction credits include episodes of The Sopranos, 30 Rock, Portlandia, and Unbreakable Kimmy Schmidt.
However, the man was not always an actor. In fact, he served the New York City Fire Department from 1980 to 1984, joining at his father’s behest, who believed in the merit of civil service. A lesser-known fact about Buscemi is that in the days following the September 11th, 2001 attacks in the US, he notably worked 12-hour shifts as a volunteer firefighter.
For such a multi-hyphenate with an eclectic career path, his taste in films is also quite widespread. In the list compiled for The Criterion Collection, Buscemi highlighted Brute Force, The Honeymoon Killers, and Man Bites Dog. However, it was Billy Liar, a British comedy-drama from 1963, that nabbed the top spot. “One of the saddest endings to a comedy I’ve ever seen. I saw John Schlesinger give a Q&A after a special screening at the Film Forum, and he said he didn’t feel that the ending was sad at all, just appropriate to Billy’s character,” noted Buscemi.
Belonging to the umbrella of British new wave, Billy Liar is based on the namesake 1959 novel by Keith Waterhouse, exploring themes of fantasy and self-deception. The film follows young Yorkshireman Billy Fisher, who subverts the boredom of his everyday existence through constant daydreaming and the construction of a fantasy life. He invents stories about himself and his family, leading to him earning the moniker of ‘Billy Liar’ and alienating those around him.
At its heart, the film delves into the struggle to reconcile fantasy with reality, as well as serves as a warning about the impact of self-deception and how it can alter one’s life.
It is perhaps, in fact, in keeping with Buscemi’s career that Billy Liar is a film he favours. His extensive work as a character actor could well contribute to characters like Billy holding extra appeal for him, given that he is no stranger to portraying complexity and even oddness onscreen.
Critics continue to write about the complexities of Billy Fisher’s character, many decades on, with one in 2020 arguing that Billy experiences mental illness—OCD specifically—which was considered taboo and without remedy in the era of the book and film. Nuances such as this one show how the character of Billy Fisher and the broader story of Billy Liar are about more than a few fibs. They are also a broader commentary on social mores and the difficulties of fitting in when one is potentially wired differently.
Buscemi is also perceptive in highlighting the tragedy inherent in the film’s ending. It concludes with Billy choosing to remain in his stultifying yet familiar life rather than move to London with his love interest, Liz. He opts to continue living in fantasies rather than take the risk of trying to improve his life and facing the unknown, a haunting choice that will be familiar for many viewers.
