The Maternal Triangle
Here's the thing about me and the Bridget Jones movies: it's never quite as simple as the usual 'want to see a movie/see the movie' progression. One day in 2001, my sister, her husband, and I wanted to go and see a movie to cheer ourselves up (we had just been to the funeral of a much-loved relative). I proposed Bridget Jones's Diary, she said okay, he vetoed it on the grounds that it was 'a chick flick'. So we ended up going to see Spy Kids instead, most of which my sister ended up sleeping through.
Then three years later the sequel came along, which I confess I was not much interested by, until word came along that this film – for some reason which is utterly beyond me – would be preceded by the first showing of the first trailer for Revenge of the Sith. Friends who know me only in my jaded current incarnation may have a hard time believing it, but this was a Big Deal at the time, and in my usual deftly Machiavellian way I talked my family into going to see it (the Bridget Jones sequel, obviously; I kept quiet about the last Star Wars film being in any way involved).
And that seemed very much to be it, although there is of course no statute of limitations on doing sequels (increasingly it feels like there really should be, though, don't you think?). Now here comes Bridget Jones's Baby, which I got talked into going to see (it was not a particularly hard sell as I'll watch almost anything), and…
Well, look. Fifteen years is a long time in movies; the life expectancy of a career can be very much less than that (just ask Chris O'Donnell or Alicia Silverstone). In 2001 Renee Zellweger was an up-and-comer and Miramax Pictures were a force to be reckoned with – these days, I imagine most people would struggle to name a recent vehicle for the actress and since the Weinsteins sold the company, Miramax have been making rather fewer waves of late. In short, this film feels a bit like it's been made simply because it's likely to be a commercial success for a bunch of people whose careers really need one right now.
The film is directed by Sharon Maguire. The laws of sequeldom demand that nothing has substantially changed for the principals in the 14 years since the last movie, so Bridget Jones (Zellweger) is still working in TV news, Mark Darcy (Colin Firth) is still a high-powered barrister, and so on (the plot also requires them to have split up, although of course they still have deep feelings for one another). What, you may be wondering, of Hugh Grant's character? Well, as Grant has opted not to come back (A Wise Career Move? Discuss), his character is missing, presumed dead – clearly they are still hoping he may be talked into appearing in Bridget Jones's Menopause or Bridget Jones's Hip Replacement or whatever the next sequel is called.
Anyway, having just turned 43 (all I will say on this subject is that Renee Zellweger herself is somewhat older) and feeling somewhat forlorn, Bridget allows herself to be talked into going to the Glastonbury Festival (cue mud-splattered slapstick pratfalls) where she ends up having an only moderately contrived one-nighter with passing billionaire Jack Qwant (Patrick Dempsey). Then, a few days later, she bumps into Darcy again at a christening, and when I say 'bumps into', I mean it in the Biblical sense.
Well, as the film is entitled Bridget Jones's Baby, I'm sure you don't need me to draw you a diagram as to what happens next. Cue lots of farcical misunderstandings and chaos as Bridget attempts to determine who the father is, while trying to keep the two men from finding out about each other. Zellweger's main achievement is still her English accent. Emma Thompson appears as Bridget's obstetrician, and gets most of the best lines, but then this should not come as a major surprise seeing as she co-wrote the script.
And in the end I suppose it all passes the time agreeably enough, though it did feel to me to be a bit too long. There are some very funny set pieces, mostly of the low-comedy variety, although they strike an unexpected vein of comedy gold quite early on when Zellweger starts lip-synching to House of Pain. This is, essentially, very much a standard British mainstream rom-com in the modern idiom, which translates as aspirational lifestyles, just a bit too much graphic sexual talk for you to feel comfortable watching it with your parents, upbeat pop-songs, and a slightly bemusing certainty that people shouting the F-word a lot is still inherently funny. (I mean, it was when Hugh Grant did it in 1994, but nowadays?)
The problem I had with the film is that its central idea just isn't that funny or easy to identify with – the first two were essentially about whether your life partner should be the exciting, fun, unreliable one, or the dull but solid one (Colin Firth's main achievement in these films is to make 'dull but solid' seem so attractive). Many people have had that kind of dilemma, I would imagine, but the situation of unexpectedly becoming a geriatric single mother while being uncertain who the father is probably less universal.
Does Grant's absence hurt the film? I would have to say so, partly because parachuting in a new main character three films in is never very successful, but also because Hugh Grant is simply an extremely accomplished light comedy actor of exactly the kind this sort of film needs. Dempsey isn't actually bad, but he's just a bit dull. As a result, Colin Firth really has to take on the job of lifting the film, and to be fair he does a better than decent job of it – but, and this may just be a personal thing, he seemed to me to be surrounded by a strangely mournful aura, as though every fibre of his being had grown accustomed to being a serious leading actor and no longer wanted to just be the male lead in a British rom-com.
The central thrust of the story is therefore just not that funny and the film resorts to a sort of lowest-common-denominator sentimentalism instead; all the bits which really made me laugh were rather peripheral. As I said, a lot of this is very broad comedy, and the rest is an extremely mixed bag – there are some desperate-feeling jokes where people who are middle-aged and feeling it make fun of young people and their beards, a peculiar not-very-topical subplot about Darcy representing a band clearly meant to be Pussy Riot (then again, this film has apparently been in development for six or seven years), and even a gag about Margaret Thatcher which would have been cutting-edge in 1989 (I'm sure it hasn't been in development for that long).
For me it all felt rather contrived and perhaps a little bit desperate; I mean, I'm not saying I didn't laugh, but I did sometimes feel like I was perhaps doing the film a favour by doing so. But your mileage may vary; most of the audience at the screening I went to were rolling in the aisles pretty consistently all the way through, and the person whose idea it was that we saw it said she couldn't remember the last time she had such a good time at the cinema (what, better than West Side Story?, I rather grumpily wanted to say). I still can't help thinking that this is undemanding stuff which knows its audience and will probably do quite well as a result. But God knows what the next one will be like.