Review of Billy Elliot (2000) by Andy K — 02 May 2010

There have been so many British films in the past decade that have fallen into the same pigeonhole: Brassed Off!, Little Voice and The Full Monty. They are all feel-good triumph-against-the-odds tales spawned from the depressing urban quagmire setting and chockfull of realistically colourful characters and smashing tunes.

Billy Elliot is another toe-tappin' delight, one of the best and most emotionally satisfying mainstream releases from the UK in many moons. From the opening credit sequence-- a supremely composed set of slow-motion frames showing the eponymous hero jumping on his bed to the lush tones of T-Rex's Cosmic Dancer-director Stephen Daldry (The Hours) establishes a life-affirming tone that continues throughout.

The plot deals with young teen Billy (played with remarkable skill by Jamie Bell), the son of an unemployed coal miner (Gary Lewis) who has high hopes for his son as a pugilist. When Billy chooses ballet lessons over boxing, his narrow-minded father rejects his decision. However, in Billy's corner is his forthright instructor (Julie Walters) whose encouragement fosters an awakening of both Billy's talents and his dad's convictions.