Billy Elliot

• Cert:
• Cat.no: UDR 90107
• Running time: 106 minutes
• Year: 2000
• Pressing: 2001
• Region(s): 2, PAL
• Chapters: 18 plus extras
• Sound: Dolby Digital 5.1
• Languages: English
• Subtitles: English
• Widescreen: 1.85:1
• 16:9-Enhanced: Yes
• Macrovision: Yes
• Disc Format: DVD 9
• Price: £19.99
• Extras: “Breaking Free” Featurette, Cast & Film Biographies, Production Notes, Original Theatrical Trailer, Interactive menus, Scene access

Director:

Stephen Daldry

Cast:

Billy Elliot: Jamie Bell
Jackie Elliot: Gary Lewis
Tony Elliot: Jamie Draven
Mrs. Wilkinson: Julie Walters
Grandma: Jean Heywood
Michael: Stuart Wells
Debbie Wilkinson: Nicola Blackwell
Principal: Patrick Malahide
Sandra: Zoe Ball
Billy (aged 25): Adam Cooper

The fanfare which greeted this BBC/Working Title production upon its release in September 2000 was hard to ignore. Magical, triumphant, brilliant… the best film of the year. These were just some of the phrases bandied about by critics across the media spectrum.

Somehow, the story (set in the midst of the Miner’s Strike of 1984) of an 11-year old boy who discovers a love for dancing – not just any dancing mind, but ballet – seemed to strike a chord with a incredibly wide and diverse range of people. Domestic Box-Office takings of more than £15million only served to confirm the rave reviews, as did a slew of BAFTA and Oscar nominations.

Clearly, there really is something quite special about Billy Elliot. But what, exactly?

The temptation is to allow a subconscious cynicism to cloud any judgement of the film, and it’s fair to say the actual reality isn’t quite as magical, triumphant or indeed brilliant as the hyperbole would have us believe. However, Stephen Daldry‘s directional debut does have an aurra about it which transcends all the surrounding hoopla. It’s far from perfect, and whether it becomes a genuine British classic only time will tell, but the movie does overcome its cliched origins and slightly clumsy opening to fully blossom come the final reel.

Daldry is a veteran of the theatre, with a glittering stage CV and a extremely high reputation for bringing out the best in actors. Doubts, even from those invloved with the movie, over his ability to helm a project such as Billy Elliot are not without foundation – he offers very little in the way of imaginative, eye-catching visual flourishes despite the presence of several extended dance set-pieces – but his real strength, the acting side of matters, saves the day… with the exceptional Jamie Bell in the title role particularly memorable.

A novice in the world of film, like his director, Bell – chosen from over 2,000 hopefuls for the pivotal role – is simply outstanding. He makes the character totally believeable in every possible way. The writing may be mired in stereotypical behaviour and of a standard more in keeping with routine TV drama, yet Bell gives the performance of a lifetime. Physically, he pulls off some demanding footwork and body movements with a perfect mix of raw talent and sheer aggressive energy.

To watch him in motion is invigorating, while his portrayal of Billy – a coal miner’s son whose mother has not long passed away, and who lives under the cloud of community meltdown through the ongoing pit disputes – is equally compelling. Several scenes are remarkably poignant, as the narrative’s various strands touch upon very potent human emotions and experiences.

Undercurrents of awkward, youthful sexuality punctuate the story – his pillow-fight with a smitten young girl in her bedroom turns into a incredible movie moment of heart-stopping tenderness, while Billy’s best friend reveals his uncertain sexual orientation with equal understatement.

There is also the developing relationship he forges with Ballet tutor Julie Walters, a rather obvious substitute mother-figure for the bereaved boy but no less affecting for that. Some of their scenes are extremely moving, especially when Walters reads out the letter Billy’s dying mother wrote for him. Contrived? Well, yes it probably is. Powerful? You betcha.

Family – in the shape of his proud, grieving father (an excellent Gary Lewis), a headstrong elder brother (Jamie Draven) and the frail grandmother (Jean Haywood) who Billy looks after – bring a grittier edge to proceedings. Very little is romanticised, and the drab environment of the Elliot home is in stark contrast to his fanciful dreams of a career in dance. This aspect of the film obviously serves a purpose overall, but a lot of it is rather functional and workmanlike.

Quite possibly, there is almost too much territory covered during the film. Basing the plot around the mining crisis of the mid-80s – a defining period of change in British post-war society – adds an extra dramatic layer, but whether it distracts too much from the main thrust of Billy’s struggle for twinkle-toed fulfillment is open to debate. Maybe there could have been more focus on the latter, but then without such a backdrop his achievement would have been lessened. The present-day coda was an unexpected move, but rounds off the tale quite satisfyingly.

Billy Elliot is basically just the latest version of the classic *poor boy with a gift overcomes his situation and becomes a hero* inspirational storytelling template. Nothing wrong with that of course, and to its credit the inspiration factor is appreciably high, so mission accomplished for all concerned.

The DVD edition, issued through Columbia Tri-Star/Universal (Working Title was a Polygram company, who were taken over by Universal), is disappointing. A 20-minute documentary – “Breaking Free” – is horribly American-ised and lacks any insight whatsoever. Plenty of talk, but rehashing the entire plot while showing lengthy clips of all the film’s key scenes is not really good enough for what it is the only main extra feature on the disc.

Cast & Crew (well, Director) filmographies are similarily poor – just the briefest of text bios that appear as though they took about 5 minutes to knock together. The Production Notes are better – again, more text to scroll through, but at least some interesting behind-the-scenes information is revealed.

Those with PC-DVD drives get some further bits and pieces, but in truth not an awful lot to feel aggrieved about if DVD-ROM capabilities are not an option. A series of three short(ish) essays cover most of the same ground as the regular DVD extras, with perhaps one of them – Bringing Billy Elliot To Life – actually worth the bother. Image clips and the obligatory Internet Weblinks are also included.

Where is a Director’s Commentary, though? Of all recent movies, Billy Elliot is a prime candidate for some comprehensive treatment on the DVD front. Columbia Tri-Star usually deliver the goods when it comes to Day & Date titles such as this, so the dearth of quality supplemental material is puzzling.

Not bad, then, but it could have been a lot better.

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