Over the past few years the period drama has been criticized for its formulaic plots and stock characters. The films of this genre have been criticized for emphasizing too much on the costumes and production design and less on the plot. The new period piece "Belle" is a refreshing look at Britain's aristocracy as it sheds light on racial issues back in the late 1700s.

The second feature film by British director Amma Asante tells the story of Dido Elizabeth Belle Lindsay (Gugu Mbatha-Raw), an illegitimate mixed race daughter of a Royal Navy Admiral, who is raised by her aristocratic great-uncle Lord Mansfield (Tom Wilkinson). The film is based a true story and was inspired by a painting of Dido.

At the center of the film is the turmoil that Dido feels throughout her life. She accepts all the rules that her family imposed on her since she was a child. She is not allowed to eat dinner with her family, and she will never be able to marry because of her color. However two elements come into play that change her life. When her great uncle decides to commission a painting, Dido is hesitant at first. Throughout the film Asante emphasizes how blacks were always portrayed in as slaves and never as equals in paintings. The other event that changes her perception of her social stasis is when she meets John Davinier (Sam Reid), a young idealist lawyer who seeks equality for all. It is during a slavery case that Dido becomes increasingly rebellious towards her family and transforms into a defiant woman that is willing to risk it all for her rights as a human being.

The romance plot is a crucial part of this genre of film, but Asante toys with audience expectations by refraining from indulging in the romantic element. The viewer gets the sense that Davinier and Dido are headed for a love affair, but the characters never outwardly express their feelings for most of the film; the effect is that it actually creates some suspense regarding the direction of their relationship. What ends up happening is that the relationship actually builds in realistic manner that makes the romance all the more credible. At the beginning of the film their interactions are very polite and formal. During the second half of the film they become friendlier with one another, but there is still some restraint; even when it seems like Davinier will declare his love for Dido, Asante pulls back and does not stray away from the central plot which is the slavery case for which Dido and Davinier are fighting for. Only until the third act does Asante allows the passion between the two to come through.

The film is not only about the romance or the racial issue; Asante also takes the opportunity to confront the issues that women in that kind of society faced. She confronts the realities of the aristocratic woman through Dido's cousin Elizabeth Murray (Sarah Gadon). Throughout the film the Mansfield family seeks a husband for Elizabeth. However when she believes she has found a lover with James Ashford (Tom Felton), she is discarded because she does not have a fortune. Meanwhile Belle is courted because she has money and an inheritance. Through Asante's perspective, woman are mistreated and used as property, regardless of race or color, and do not have the power to voice their opinions. Ultimately, these two themes converge in Dido, who manages to overcome the societal restrictions and assert her power and strength.

In the lead role Mbatha-Raw steals each scene with subtle and nuanced performance. At the beginning of the film she is very quiet, but her facial expressions reveal the internal conflict and inferiority that she seems to feel; they are locked away inside just as she is a prisoner of society. In one scene where she is told that her family will have guests and that she will not be able to dine with them, Mbatha-Raw looks straight at the paintings in the corridor, giving off the sense that she feels trapped in a world she does not belong in. In the second act of the film her demeanor changes. Mbatha-Raw has a more assured look in her face, and body movements also reflect that. However there is still that expression of pain and confusion. While she wants to fight for the slaves, there is a sense that if she does so, she would be betraying her family. That expression of discontent comes through when her uncle discovers her and Davinier's plot. While Belle loves Davinier, she has strong ties towards her uncle. In the third act however, Mbatha-Raw demonstrates the strength that she has been waiting to take out. In the scene when Dido confronts Lady Ashmore (Miranda Richardson), an aristocrat, Mbatha-Raw's voice is measured and firm, and she does not allow the emotions to come through. But instead of silencing her emotions for the sake of others, her restrain in this confrontation has more to do with the character's sense of control and power in the situation.

Wilkinson's performance is another standout in the film. His Mansfield is a man of justice and one that abides by the social regulations. However Wilkinson's expressions always give the sense of sorrow. When he tells Dido that she will not be able to dine with them, Wilkinson's vocal expression is firm, but his facial expression gives the sense that he is not in complete agreement with the proceedings. During another scene with his wife (Emily Watson), Mansfield questions whether he is doing the right thing by abiding by the rules. During this scene, Wilkinson seemingly has an internal conflict between releasing his emotions and breaking down or maintaining his composure; this battle highlights the external issues of choosing between his duties and his beliefs.

Reid also turns in a fine performance as Davinier. What is interesting about his character is that unlike Dido and Mansfield, he freely expresses his emotions. He is awkward in the initial scenes, expressing the idea that he is not comfortable in the rigid society. When Dido meets him in a poor neighborhood, the character takes on a more confident air that emphasizes his heroic qualities. However, during confrontations, he has no trouble with unleashing the full intensity of his emotions. During one scene in which he expresses his love for Dido, Reid's Davinier fires every single word at Mansfield will all the energy possible; the tight close-up only accentuates the fiery delivery by Reid in this wondrous moment.

Gadon plays Murray with a slight innocence and charisma. However as the film progresses, she becomes increasing vulnerable. It almost feels like Murray is going in the opposite direction of Dido. As Lady Mansfield Watson is stoic but at the same time moving, while Richardson plays Lady Ashford with a conniving demeanor.

The one performance that felt repetitive and one note was Tom Felton's Ashford. Part of the problem is that Felton seems typecast at this point. In this movie he is a bully and racist who cannot bear to look at Dido because she is black. Felton brings his usual violence and arrogance, but it almost seems like he is still playing Draco Malfoy from "Harry Potter."

On the production side, Anuisha Nieradzik's costumes are always sumptuous to look at but they never detract from the story. Dido's costumes always maintain pale palette and brightest colors she ever gets is a diffused pink. Meanwhile Rachel Portman's score is never intrusive. Like most of her work, the score for this movie is elegant and filled with stringed instruments mixed in with piano.

Overall the film is a triumph as it easily blends several themes into the movie without straying away from the main issue at hand. Mbatha-Raw gives a breakthrough performance that should easily attract various directors for future work.