Billy Elliot (2000)

Director:

Stephen Daldry

Writer:

Lee Hall (written by)

Release Date:

29 September 2000 (UK)

Genre:

Comedy | Drama

Tagline:

Inside every one of us is a special talent waiting to come out. The trick is finding it.

Plot:

A talented young boy becomes torn between his unexpected love of dance and the disintegration of his family.

Plot Keywords:

Coal Miner | London | 1980s | Boy | Boy Boy Kiss

Awards:

Nominated for 3 Oscars. Another 49 wins & 54 nominations

US TV Schedule:

Sun. July 6	11:45 AM	SHOW
Thur. July 10	12:55 PM	SHOW

Cast

Jamie Bell	...	Billy Elliot
Jean Heywood	...	Grandma
Jamie Draven	...	Tony Elliot
Gary Lewis	...	Dad (Jackie Elliot)
Stuart Wells	...	Michael Caffrey
Mike Elliot	...	George Watson
Billy Fane	...	Mr. Braithwaite
Nicola Blackwell	...	Debbie Wilkinson
Julie Walters	...	Mrs. Wilkinson
Carol McGuigan	...	Librarian
Joe Renton	...	Gary Poulson
Colin MacLachlan	...	Mr. Tom Wilkinson (as Colin Maclachlan)
Janine Birkett	...	Billy's Mum
Trevor Fox	...	PC Jeff Peverly
Charlie Hardwick	...	Sheila Briggs

Also Known As:

Dancer (France) (festival title) (UK) (working title)
Billy Elliot (France)

MPAA:

Rated PG-13 for some thematic material. (edited version)

Runtime:

110 min

Country:

UK | France

Language:

English

Color:

Color

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby Digital

Certification:

USA:R (theatrical release) | Finland:K-8 | South Korea:12 | USA:PG-13 (cut video version) | Malaysia:U | Argentina:Atp | Australia:M | Canada:PG | Chile:TE | Denmark:7 | France:U | Germany:6 (bw) | Netherlands:AL | New Zealand:M | Norway:11 | Peru:PT | Portugal:M/12 | Spain:T | Sweden:7 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | UK:15 | Ireland:15 | Singapore:PG | Hong Kong:IIA | Iceland:L

Filming Locations:

Canary Wharf Underground Station, Canary Wharf, Isle of Dogs, London, England, UK

Company:

Arts Council of England

Trivia:

Billy Elliot's original title was 'Dancer', but when they took the film to the Cannes Film Festival, there was another film called Dancer in the Dark (2000), which won the Palmes D'Or, prompting confusion; indeed, Universal Studios called the directors, producers and writer up and congratulated them. They then realized they had to change the name and settled ('rather lamely', joked the writer) on 'Billy Elliot'.

Goofs:

Continuity: When Jackie is inside the bus leading to the mine, an egg hits his window, but when the bus is viewed from outside, the window is clean.

Quotes:

Mrs. Wilkinson: Please yourself, darlin'.

Movie Connections:

Featured in 'Billy Elliot': Breaking Free (2001) (V)

Soundtrack:

A Child Is Born

Billy Elliot - The Class of 2000

To say that Billy Elliot is the best movie of 2000 is to damn it with faint praise, since this year's crop is pretty uninspiring. Better to compare it to movies of the past few years, and even then it would stand out. It is a phenomenally good film, and perhaps even groundbreaking in its own way, since it goes against the trend of quirky, violent, sex-obsessed moviemaking that's become so popular recently. We've finally been given a film with a good, almost mythic story, complicated yet believable characters, a masterful blend of emotional intensity and critical restraint, and a series of dance scenes that are authentic, inspiring and completely integral to the plot.

No wonder critics have been falling over themselves in heaping praise on Billy Elliot. No wonder it's been holding its own in the box office despite being shown in a mere handful of theatres (one-quarter to one- sixth as many as the big Hollywood blockbusters) and despite its receiving hardly any promotion at the moment. Its success is being driven by word of mouth. And what is the word? Here is a movie that appeals to your heart, head, funny bone, eyes and ears, and last but not least your feet, for the music and the movement will have you wanting to get up and dance. And it achieves all of this without insulting the intelligence. I sometimes wonder how the movie would have been done by Hollywood: Billy would have been made a more pathetic figure; the people in his life rendered more black and white; characters would have either remained caricatures, or made to develop in the blink of an eye. All such excesses are avoided in Billy Elliot, where the characters develop in a totally believable way, where Billy invites admiration instead of pity, and where the silences, looks and gestures all leave so much to the imagination. The dictum "Less is more" is clearly the guiding principle behind the film.

The buzz for Billy has been so positive that people sometimes come away disappointed that their lives haven't been changed. So don't go expecting a "knock 'em dead" Hollywood rollercoaster. Billy Elliot is far more subtle, though the emotional moments are all the more powerful because of that. You can however believe everything that has been said of Jamie Bell. He has an outstanding screen presence and carries the movie on his little shoulders with breath-taking naturalism. His dancing is honest and powerful, and very masculine. He makes you forget that all the other actors give the performances of their careers in support. If the Oscar were awarded without consideration for age, career, box office draw or Hollywood clout, Jamie and his movie would win hands down.