Jamie Bell, an actor whose career began with the indelible image of a young boy dancing with unbridled joy in Billy Elliot, now finds himself immersed in the raw, often uncomfortable realities of Richard Gadd’s latest television venture, Half Man. In stark contrast to the innocent exuberance of his breakout role, Bell’s portrayal of Niall in the six-part drama plunges into the depths of addiction, codependency, and the often-brutal exploration of sexuality. Surprisingly, Bell expresses a peculiar sense of relief when his character is engaged in sexually explicit scenes, finding them a welcome respite from intense dialogue. "Honestly, I was so grateful to be shooting that stuff and not 16-page dialogue scenes, where you’re emoting and it’s so intense," Bell revealed in a recent interview. "On days when my character had to have sex with random people, I’d think: ‘Thank God!’ Frankly, it came as a welcome reprieve."
Half Man, Gadd’s follow-up to the globally acclaimed Netflix series Baby Reindeer, chronicles the volatile and deeply intertwined lives of two men who are "brothers from another lover." Bell plays Niall, a character described as bookish, bullied, and closeted, whose life is irrevocably shaped by his relationship with Ruben, portrayed by Gadd. Ruben is the swaggering, violent ex-con son of Niall’s mother’s girlfriend. Over three decades, the drama meticulously charts the destructive trajectory of their inseparable, yet toxic, bond. The series, which is building towards a devastating conclusion, does not shy away from depicting the harsh realities of its subject matter, featuring unflinching portrayals of sex, violence, and plot twists designed to shock and provoke. Bell himself acknowledged the intensity of the production, stating, "It’s a brutal, beastly thing that Richard has created. I’d be lying if I said it was easy or fun to make."
The Genesis of a Character and a Collaboration
The role of Niall was reportedly written with Jamie Bell in mind, a fact that only came to light for the actor during discussions with creator Richard Gadd. "I didn’t realise that when I initially read the scripts," Bell admitted. "But later, when I met Richard in Los Angeles to discuss it, he said he wrote it with me in mind. I was incredibly flattered." Bell elaborated on the immersive quality of Gadd’s writing, describing it as a "sensory experience" that "truly takes you to those places in your own life." He added that Gadd’s material "probes experiences you’ve kept hidden away somewhere and chosen to forget."
Interestingly, Richard Gadd had not initially intended to star as Ruben. It was Bell who persuaded him to take on the role. "When we first met, we didn’t know who was going to play Ruben," Gadd explained. "I was like: ‘Well, why don’t you?’ It seemed obvious to me. For Richard, it meant putting his body through hell, on top of writing and producing. When I suggested it, I didn’t realise what the demands on him would be. But I’m grateful he relented."
Bell’s introduction to Gadd’s work came through his wife, American actor Kate Mara, who was engrossed in Baby Reindeer. Her enthusiastic reactions piqued his interest. "My wife had been watching Baby Reindeer, so I’d seen Richard’s face – usually accompanied by Kate going: ‘Oh my God, this show is wild!’ I went: ‘Hang on, I think I have a script from this guy. He’s making a new show.’ She was like: ‘Well, you’re an idiot if you don’t do it.’ When I did sit down and watched Baby Reindeer, I was blown away."
Exploring Niall’s Psyche and Bell’s Personal Resonance
Bell was particularly drawn to the profound complexity of Niall. "I thought: ‘Woah, this man is on such a destructive downward spiral… He’s got everything he wanted in life but still can’t accept who he is. Niall is living as several different people and he’s not comfortable with any of them.’" The actor found a deep well of empathy for Niall’s vulnerability and his gravitation towards the aggressive alpha male persona of Ruben. "Ruben is this disaster of a man. A bull in a china shop, destroying everything and everyone in his wake," Bell observed. "Why doesn’t Niall step away? Partly self-preservation. Niall feels vulnerable whereas Ruben is intimidatingly powerful. He can be Niall’s protector. People fear him. Because of that, Niall latches on to him almost parasitically. Ruben becomes his life support system. I understood that 100%."
Bell drew parallels between Niall’s need for a strong, albeit dangerous, protector and his own upbringing. "I grew up in an all-female household and did ballet, so I used to attach myself to tough, troubled guys too. Not my kind of crowd at all but I’d rather have them on my team than not." This personal connection extended to Niall’s struggles with self-acceptance and self-loathing. "I’ve had that for ever," Bell confessed. "It’s gotten worse as I’ve got older. I love what I do and I’m blessed that I still get to do it after all these years but I can’t watch anything I’m in. I hate the finality of it. You leave going: ‘You fucked that one up. Ruined it. You’re just not good enough.’ I forget that it’s just a job, not life or death. Other actors have told me to chill out but I don’t know how."
A significant aspect of Niall’s character arc involves his internal struggle with his sexuality, leading him to undergo conversion therapy. As a straight man, Bell felt a profound sense of responsibility in portraying this deeply personal and traumatic experience. "It’s the centre of the character," he stated. "The basis of all his issues. I took that very seriously. Niall’s self-hate goes beyond shame or societal pressure. Somehow, his own sexuality doesn’t sit right within his worldview. That, to me, is beyond sad. ‘Be yourself’ is the simplest advice yet at times, the hardest to adhere to." This internal conflict fuels Niall’s dangerous sexual escapades. "Because of his repression, everything is guarded and hidden. That becomes the excitement. It’s an addiction. He gets a kick from dangerous sex."
Toxic Masculinity and the Male Identity Crisis
Half Man‘s unflinching exploration of male rage and damaged antiheroes inevitably invites discussions about toxic masculinity. When asked if he believes contemporary masculinity is in crisis, Bell offered a candid perspective. "Look at who are the majority transgressors in this world," he posited. "It’s men, on all fronts – not just misogyny but conflict, crime, everything. It’s important to shine a light on that. The conversation is ongoing. Hopefully this show adds something."
Bell’s own relationship with masculinity is shaped by his upbringing. His father left before he was born, and he was raised by his mother and elder sister. "There is a clear theme throughout my work of parental dysfunction," he noted. "I must exude it because these roles come to me. People must go: ‘Orphans? Fathers and sons? Get Bell for that!’" He reflected on his role in Andrew Haigh’s 2023 film All of Us Strangers, where he played the father of Andrew Scott’s character. "In All of Us Strangers… you hear how Andrew Scott is talking to his father [played by Bell] and naturally it makes you reflect on your own parenting. That was a haunting, eye-opening experience."
The series is punctuated by scenes of visceral, bone-crunching violence. Richard Gadd underwent a significant physical transformation to portray the bruiser Ruben. However, Bell’s character, Niall, is largely on the receiving end of the physical altercations. "No, thankfully," Bell said when asked about fight training. "Niall is normally on the receiving end. There was a line in the script that says: ‘Niall is totally physically incapable.’ I was like, ‘Great! That’s easy.’"
The dramatic climax of Half Man features a pivotal two-hander scene, which Gadd has lauded as the best writing of his career. Bell echoed this sentiment, calling it the scene that initially compelled him to join the project. "That was one of the first scenes I read and the one that made me do the show," Bell stated. "I was like: ‘Wow, if we could sustain this long scene, bring all these men’s history to it and lay it all out on the table, that’d be a great piece of television.’ There’s nothing to cut to, no guns or gimmicks, just two men looking at each other and coming clean." The finale also includes a memorable, albeit unpleasant, vomiting scene, which Bell described with a wry amusement: "Throwing up on screen is always bizarre. You fill your mouth with oatmeal, banana, peas and carrots, then spew it out."
Stepping into the Iconic World of Peaky Blinders
Beyond Half Man, Jamie Bell is currently immersed in the production of the highly anticipated Peaky Blinders sequel series, which will propel the acclaimed period gangster saga into its next chapter. Set in 1950s Birmingham, Bell is set to portray Duke, the son and heir of Tommy Shelby, a role previously depicted by Barry Keoghan in the film spin-off A Killer of Men. While details remain under strict wraps, it has been revealed that Bell is sporting a sharp, short-back-and-sides haircut for the role. "I’m thrilled to be part of it," Bell expressed. "The show has such a great legacy and an incredible fanbase. People have high expectations, as they should. We hope to bring them something different and exciting."
Bell’s connection to the Peaky Blinders universe extends to his admiration for creator Steven Knight. "First and foremost, I’m a longtime Steven Knight fan, dating back to his film scripts like Dirty Pretty Things and Locke," Bell shared. "Steve seemed surprised when I told him that! What I admire is how he’s created this entire universe in his own back yard. Peaky takes its cues from classic Hollywood – it’s totally a western at heart – but transposed on to an urban working-class environment and given grand scale. It’s such a treat stepping into that." He also appreciates the sartorial impact of the show’s iconic costumes. "It does so much work for you. You put on that iconic cap and you’re away."
Knight is a vocal advocate for working-class representation in the arts, a cause Bell champions. "I wish it wasn’t," Bell responded when asked if it’s an issue. "I came from a small town in County Durham called Billingham. There weren’t a ton of opportunities but we did have the Billingham Forum theatre. My mum took me to see touring West End shows there and that’s what gave me the bug. Reaching out to those places opens young people’s eyes and inspires their ambitions. That’s why it’s so vital local theatres get funding to remain open. It’s about access and exposure."
A Career of Depth and Longevity
Bell’s forthcoming role in Paul Greengrass’s film The Uprising, chronicling the 1381 Peasants’ Revolt, marks another significant collaboration with a director he deeply admires. "Paul has long been one of my favourite filmmakers. I saw Bloody Sunday when I was 16 and it changed my life. The level of detail he pumps into his movies is unrivalled, so it was bucket list stuff to work with him." Speculation also lingers about a potential sequel to Steven Spielberg’s The Adventures of Tintin, a project Bell seems open to. "Those rumours have been rumbling for 20 years!" he grinned. "But I love Tintin and the intrepid boy reporter all grown up could be interesting."
For many, Bell remains inextricably linked to his breakthrough performance as Billy Elliot. At just 13 years old, he captivated audiences and secured the youngest-ever Best Actor award at the BAFTAs. His sustained career in an industry known for its fleeting child stardom is a testament to his talent and resilience. "I’m just grateful to still be working, because these stories frequently don’t end up that way."
Now in his 40s, Bell reflects on his own journey. "I turned 40 recently, would you believe? Personally, I’m fine with ageing. I just feel terrible telling people. Many still think of me as a child, so when I say I’m a 40-year-old father of three, it scares them. They go: ‘Wait, no, you’re a boy dancing on top of a toilet!’" With his commanding presence in Half Man and his foray into the iconic Peaky Blinders universe, Jamie Bell is undeniably entering a new phase of his career, solidifying his position as a leading man capable of navigating complex, character-driven dramas. His ability to continuously evolve and tackle challenging roles suggests a promising future, proving that the boy who danced on a toilet is now dancing into a new era of critically acclaimed television.
Half Man continues its broadcast on BBC One on May 26th at 10:40 pm and concludes on BBC iPlayer on May 29th. In the United States, the series is available on HBO Max and Hulu, and in Australia, it streams on Stan.
