Generally in this column, and in the Universal library for that point, we have been examining what I would call fantastic cinema. Fantasy, sci-fi, horror; outlandish and lavish productions outside the natural world. This week we take on a fairly grounded film at the turn of the century that sometimes strays into being a musical…but a very gritty version of one without a glimpse of an umbrella or sailor suit in sight. Billy Elliot (2000) is that film. A film that I had not had the opportunity to screen until now, but felt to me like a fitting sequel spiritually to one of my favorite musicals, 1991’s The Commitments which was also gritty and realistic.
The themes certainly echo each other. They are from similar geography in the United Kingdom about the downtrodden in the area using music as a form of escape from their desperate surroundings. In this case, it was set during the coal miner’s strike in the 1980’s. In some ways, this makes Billy Elliot even more specific than the frequently lyrical and mythical Alan Parker film, The Commitments. While I still prefer that treatment, this film celebrates the individual triumph in a way a rhythm and blues band film never could.
That’s because in this film he is not only fighting poverty. He is also combatting traditional gender roles of the time. In Billy’s world, the boys went to boxing lessons and the girls take ballet classes. That’s just how it was. Much was made of Billy joining the ballet classes and like a “feel good” / “coming of age” film always has….after a period of difficulty and resistance, Billy presses through and succeeds.
Oh, wait. Spoiler alert. Like you didn’t know that would happen.
It is a fairly successful formula for these films. The outsider slowly being integrated into society is always a key point. It is Billy’s passion for his interest in dance that draws the community to pull for him eventually as opposed to away from him. What I liked here is that his father, initially the antagonist, slowly turns the corner and in particular, his relationship with his brother rang true. Many brothers have this “love/hate” thing going as they are growing up under one roof, only to grow to a true family bond that grows as separation is introduced into the relationship.
Adding to the alienation was the family still coming to grips with their grief over the loss of Billy’s mother recently. This gave the entire film a bitter/sweet vibe that echoed throughout the film. It’s this sweetness, with an edge, which has made this an enduring film. It’s this loss which plausibly draws the family together to sacrifice all they have to bring Billy’s dreams to reality.
The secret weapon for Billy is brassy Julie Walters who serves as an external spine for the frequently wishy-washy protagonist of the film. She is definitely not some wilting flower ballerina that you might expect as the teacher to young Billy. He is trying to find his dancing equivalent of a voice and she is the strong sure hand to help him find the way to his artistic freedom and ultimate freedom from a world that seems committed to restraining his hopes and dreams. Walters plays the role to perfection with the right amount of vinegar to go with the sugar and bring a balanced character to the screen.
Beyond the film, upon an initial screening, Elton John suggested that the film would make for a good musical…and it turned out to be a big success running for over a decade. But success was not new to the property. The initial release made $100M after premiering in Cannes. (It was at Cannes that they decided to change its original title so it would not conflict with the Lars van Trier film Dancer (later Dancer in the Dark) featuring Bjork.
Jamie Bell has had some success since this film, most notably in voice work. The main credit being as TinTin in the tragically underseen Adventures of TinTin by Steven Spielberg. The soundtrack features a good amount of music by T-Rex, which was a 60’s English psychedelic rock band, which seems like an odd choice for a film set in the 1980’s, but somehow it fits stylistically and thematically.
When you get down to it, Billy Elliot resembles Footloose quite a bit; dance as an escape. Kevin Bacon’s character in Footloose wants to escape the quiet life in rural America through dance. Billy Elliot is trying to escape the cycle of life in the coal mines to something better.
The next time you are looking for a win, try dancing like no one is looking. It couldn’t hurt.
