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Billy Elliot 2000 |
Review by Jonathan Cornwell |
Directed by Stephen Daldry
R, 110 min. (language) |
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Starring: Jamie Bell, Gary Lewis, Julie Walters, Jamie Draven, Jean Heywood, Stuart Wells, Nicola Blackwell
Producers: Greg Brenman, Jonathan Finn
Screenplay: Lee Hall
Cinematography: Brian Tufano
Distributor: Universal Pictures
Released: 10.13.00 (Limited) |
Rating:
 (out of ) |
First time director Stephen Daldry's Billy Elliot captures the viewer's attention with a fascinating story of a boy's desire
to pursue ballet in the face of angst that surrounds him. Set in 1984 England, when coal miners were on strike and those
that crossed the picket line (scabs) were routinely threatened with violence, Daldry fashions his film around a family that
is torn by a union strike and a boy's atypical dreams. Because the film centers on the family drama and not strictly the
world of ballet dancing, it succeeds on a much higher level than expected.
Billy (Jamie Bell) is secretly receiving lessons from ballet instructor Mrs. Wilkinson (Julie Walters), whose class operates
parallel to Billy's boxing club. While his father, Jackie (Gary Lewis), and his brother, Tony (Jamie Draven), suffer through
a prolonged union strike, Billy is left to help care for his ailing grandmother and to cope with the recent loss of his mother.
Of course, when Jackie discovers his ballet, he's furious and drives a wedge between them that lasts for nearly a year.
But when confronted with Billy's natural talent as a dancer, Jackie eventually relents and becomes his biggest supporter
as Billy auditions for a ballet school in London.
Daldry keeps things lively and on pace without letting things drag, especially in the film's second act. His film has a nice
mix of comedy and drama that meshes well with its depressing surroundings in a poor neighborhood. The focus
remains on the family unit despite the temptation to transform a simple boyhood coming-of-age story into another Rocky-type
endeavor. It's ironic that the family, which at first was embarassed by his interest in ballet, rallies around Billy's talent at a
time when it's being split apart by financial distress. The film's most powerful moment comes when Jackie crosses the
picket line (momentarily) in order to support Billy's dream, much to the dismay of Tony, who begs him not to do it.
Billy Elliot surprises us not because it deftly handles ballet and a social awakening of the merits of nontraditional male
activities, but because it draws attention to a family in crisis with the guise of the peculiarity of a boy who loves to dance.
The result is one of the most enjoyable two hours in a theater this year.
© 2003 Jonathan Cornwell
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 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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