When I first saw the trailer for Billy Elliot, it appeared to be a parallel piece to Girlfight. Both films star a coming-of-age teen who seeks his/her salvation through an activity that is directly opposed to gender expectations. They both have mothers who have died prematurely, and both come from the lower rungs of society. But that's about where the similarities end, outside of comparable recognition at independent film festivals on both sides of the pond.

Set during the 1984 miners' strike in northeastern England, Billy Elliot stars newcomer Jamie Bell as the youngest son of a coal miner (Gary Lewis III), who is striking with his older son, Tony (Jamie Draven), and many of the other miners. Needless to say, there isn't a lot of money in the household, but the taciturn father does what he can to raise his sons as he sees fit. Tony takes after his father; his brotherly communication consists mostly of saying things like "fuck off" and listening to music through his headphones.

In contrast, Billy takes after his mother's side, though he isn't especially verbal either. His mother once played the piano, and his senile grandmother declares that she could have once become a professional dancer, and that becomes Billy's passion. He loves watching Fred Astaire in old movies and is instantly drawn towards the ballet class when the hardcore teacher, Mrs. Wilkinson (Julie Walters) takes over part of the gym during boxing lessons. It's an internal thing—Billy simply has to dance to express himself.

Of course the idea of a coal miner's son seriously pursuing ballet is about as common as it would be for an offensive lineman for the Pittsburgh Steelers to join the Bolshoi. As Billy's father points out, boys are supposed to enjoy boxing or wrestling—not ballet. Billy questions the wrestling statement, but at least the scriptwriter spares us statements about the sexuality involved with two guys entwined in wrestling grips. It's clear that Billy will secretly cling to his passion for dancing.

And why not? We don't question Gene Kelly's manhood for his numerous routines, nor do we question John Travolta's masculinity in Saturday Night Fever. I can't imagine anyone thinking Baryshnikov as a "poof" after seeing his soaring athleticism in Turning Point or White Nights, yet the stereotype persists about male ballet dancers and the movie deals with the misconception effectively.

Mrs. Wilkinson agrees to tutor Billy privately after his father discovers him in the ballet class, so that he can audition for the Royal Ballet School, and you can pretty much predict the plot's direction from here. Fortunately that is not where the strength of the film lies.

Billy Elliot's main strength rests in the hands of its young star. Director Stephen Daldry knew that he had to find a young boy who could dance, could act, and could pass for an 11-year-old, so the casting of Jamie Bell makes Daldry look like a genius.

Bell appears to actually be experiencing the emotional context of the film instead of acting, and perhaps he is. After all, he's certainly faced some of the same issues growing up as a real kid who loves to dance, so he's been essentially "method acting" ever since his first dancing lessons. Indeed, some of the very best scenes are Bell's silent ones since his character has a great deal of difficulty expressing himself verbally, as we most pointedly witness during his Royal Ballet School audition.

But watch the kid turn "electric" when he turns his frustrations into an eclectic mix of ballet, interpretive dance, and tap dance. And this is especially highlighted when he performs his most intense and vital audition for his father in a key scene, evoking memories of other breakthroughs between fathers and sons in films like Field of Dreams and October Sky.

Yet as great as Jamie Bell naturally fills the title role, his performance is enhanced by some outstanding supporting acting and some virtuoso camera work. Bell's scenes with his father could never have worked without Scottish actor Gary Lewis' subtle acting (accomplished more through his eyes and facial expressions than anything).

Lewis comes to the front in three emotional scenes that demonstrate his internal conflicts: a scene in which he breaks down when forced to burn his dead wife's piano for firewood, and two separate confrontational scenes with his two sons. These scenes really become the emotional core of the movie.

As a former teacher, I was also greatly impressed with Julie Waters' realistic portrayal of a disciplined ballet instructor. She balances the fine line required between compassion and toughness, yet does much more. I was moved by the scenes that showed she is vulnerable like any dedicated teacher when facing a major disappointment, yet hard-nosed enough to move on to her next project (while masking her pain). I related a great deal to her, since I do understand that many idealistic teachers must continually temper enthusiasm with the realistic thought that teachers are only temporary servants, who can only hope to make a small difference in a handful of lives.

Before I get too specific and sentimental (as I don't want to spoil some major elements here), I was also impressed with many of the juxtapositions that Daldry creates. These are especially notable in many of Billy's dance numbers, largely done to the '70s music of Marc Bolan and T. Rex. But the one that really blew me away is a sequence done to The Clash's "London Calling" that choreographs one of Billy's dance numbers, the local riot police, and Tony as one of the striking protestors. That entire sequence had me smiling and nodding approval.

In fact, the whole movie has a "feel-good" quality to it without becoming overly sentimental. It does have its moments that border on overindulgence of schmaltz, but the actors become real people and balance the tear-jerking stuff with some great comedy that will have many comparing Billy Elliot to The Full Monty or Brassed Off because of its general feel and the similar setting.

Billy Elliot apparently did very well in theaters in Great Britain, and some accurately predicted that it could be another "sleeper hit" like The Full Monty. Billy Elliot was one of the better films I saw last year. I feel fortunate that I was able to catch a late show in New York on its initial U.S. release—it was certainly more worthwhile than another feel-good movie (that one was about pseudo-racism in football) concurrently playing in the local theaters at the time.