In the States, after the critical and financial success of English movie imports like Four Weddings and a Funeral and The Full Monty, there was a tidal wave of working class Brits vying for their would-be places in the American cultural zeitgeist unfelt since The Beatles and The Stones landed on our shores. (The Snapper, Walking Ned, Still Crazy, Bend It Like Beckham, Shirley Valentine, anyone?) It helped us re-appreciate the old days of Bob Hoskins, when working class Brits were gangsters in films like The Long Good Friday and Mona Lisa during that great British wave of the '80s. So you can understand why I felt so cynical back in 2000 when I heard that the latest British darling, Billy Elliot, earned a couple Oscar nominations (for its script, director and supporting actress Julie Walters)--and even worse, it was about some kid who was alienated from his working class family because he wants to be a dancer. Egads, that sounded like a load of goop to me. And like my own personal feel-good-story, eventually I caught up with the movie and was pleasantly surprised. As a matter of fact, I was shocked; I too was a sucker for the flick and on rewatching it some decade-and-a-half later, I again fell for its charms.