Conceptual Notes on Billy Elliot

Resource Description

Conceptual Notes on Billy Elliot

Tufano has stressed the impact of ‘framing colours and texture’ as well as an evocative use of light and dark to convey the story. The spacious hall counters the repressiveness of Billy’s cramped home, as does the fact that teacher and student are the only ones there. The cinematographer recalls Daldry wanting ‘the youth centre scenes to have a lighter quality, a kind of heightened realism, because dance is how Billy escapes his environment and enters a world of his own.’ The secret one-on-one lessons that Mrs Wilkinson proposes as preparation for an audition become a conspiratorial act of defiance against social norms and a father’s injunction. This is also a clear sign of growing independence and commitment to achieving his personal artistic aim. The slowly swinging punching bag is often seen in the background. 

Tufano uses chiaroscuro low key lighting, to give dramatic impact to their secret lessons. The term stems from the technique used by Renaissance painters to gain the dramatic impact of three-dimensional forms, via strong light and dark tonal contrasts. It was a commonly used lighting technique in the popular ‘Film Noir’ crime movies of the 1930s and 1940s. Atmospheric impact is achieved by the light streaming through upper windows to bathe the hall in a soft, almost ethereal bluish haze which also enhances the secretive nature of the lessons. Other mise en scene elements include the punching bag which is shown in several scenes, Peter Darling, the film choreographer, commented that he ‘wanted the dance scenes to be a way of expressing Billy’s desire to get out – to fly – to break free.’ He also wanted the dancing ‘to be part of the narrative’ and a means of expressing ‘who’ Billy was as an individual. This is achieved through the combined efforts of director, choreographer, cinematographer and Jamie Bell’s skill and flair.