Bun and games…
Jane Crowther | Total Film – November 2016
The
world has changed markedly since the last time we saw Bridget back in
2004. Now we have Tinder, Pokémon GO, emojis, the smoking ban, iPhones,
the Sirt diet, JOMO, hashtag culture and a snobbish disdain for
Chardonnay. How could the gloriously imperfect Miss Jones and her
20th-Century obsessions elbow their way clumsily back into our 24-hour,
cynical world?
Easily, as it turns out. Based on Fielding’s Independent
columns, rather than her third novel, BJB re-joins Bridge (Renée
Zellweger) after her romance with Mark (Colin Firth) has fizzled and
dalliance with professional heel Daniel (Hugh Grant, out of the picture)
is dead in the water. Now at her goal weight and a senior TV producer,
Bridget nevertheless continues to fall over, say the wrong thing and take
disheartening phone calls from her mother (now inexpertly FaceTiming).
With all the favourites back for more – the friends, that flat, those
PJs – plus sly updates (sweary kids, buzzkill hipsters), Bridget ends up
pregnant, not knowing whether the key night was a festival frolic with
American charmer Jack (Patrick Dempsey) or a nostalgia-shag with Mark. And
that, deliciously, leads to Emma Thompson’s scene-stealing medic and
classic Jones shenanigans…
To give the writer-actor even more credit, one of the most successful
aspects of BJB is her doctoring of the passed-around script. The resulting
romp is brisk, witty, warm, emotional and, critically, relevant. Though
there’s clever modernisation with current cameos and age-related
anxieties, director Sharon Maguire (who helmed the 2001 original) and
Thompson never lose affectionate sight of the core character or the larger
female experience. So while we still get the physical comedy of two
sparring men (manifested in a brilliantly bungled revolving-door moment),
we also get bullseye jokes about childbirth, sex, parenting and work that
will have either gender snorting.
Of course, much of the charm of celluloid Bridget was originally down to
Zellweger herself and it’s joyous to see that twinkle in her eyes and
funny little shrug still very much intact. As is the push-pull of the
gents: again managing to replicate the success of the Darcy/Cleaver
conundrum by making both suitors equally persuasive. And just in case
you’re not feeling warm and fuzzy enough, Maguire chucks in a well
judged flashback montage to make fans blub and bring novices into the
fold.
The only blue soup in this delightful confection is a too-neat,
traditional ending that doesn’t feel brave or modern enough for Miss
Jones. But quibbles aside, Maguire and her charming cast have essentially
managed a Creed – cleverly
revisiting a beloved character without reinventing or re-hashing.
THE VERDICT
A warm, witty and welcome return – intelligently evolved and an absolute
hoot. As Bridget would say, “V. good.”