She’s got 2 MEN
and a BABY!
Lynette Rice | Entertainment Weekly – December
31, 2015
Renée Zellweger is not very good at hiding. In one of her more slapsticky scenes in Bridget
Jones’s Baby, the Oscar winner almost goes arse over elbow in the
titular character’s effort to avoid an American hunk (Patrick Dempsey)
who may have knocked her up during a drunken tryst. Back in 2001 audiences
fell in love with the hapless heroine of Bridget Jones’s Diary for
her she’s-such-a-mess antics, but things are a little different now.
It’s time for Bridget to grow up. “This is part of the challenge, discovering
where she is in her new life,” Zellweger says. “She’s a bit more
mature and has moved on, as we all have.”
When we left Bridget at the close of The Edge of Reason in 2004,
Mark Darcy (Colin Firth) had proposed and a modern fairy-tale ending
seemed within her grasp. Turns out, though, she didn’t marry him, and in
Baby (out Sept. 16, 2016), Bridget, now 43, is still single and a
news producer when she discovers that she’s pregnant. And in true
Bridget fashion she’s not sure if the baby belongs to the handsome
billionaire she’s just met (Dempsey) or the long-suffering Darcy. Okay,
so she hasn’t matured that much. Some things clearly remain the
same: her penchant for granny panties (yup, they’re expected to return
in some form) and her uncanny ability to make an embarrassing situation
all the more awkward. “I think that’s her essence, really,” says
Zellweger, speaking with her character’s British accent (and entirely
in a whisper) during a break from EW’s cover shoot in London. “All of
us do things in our personalities that we don’t outgrow.”
That will no doubt please fans of the first two films, which earned more
than $500 million worldwide. But that made the 12-year gap before this
third movie all the more puzzling. Why the delay? Finding the right story
proved a bigger challenge than you might expect. The first two
installments were based on the novels by Helen Fielding, but producers
weren’t ready to make the narrative leap the author took in her latest
Bridget book, Mad About the Boy. (In that yarn, Bridget is already
a single mom and SPOILER ALERT! Mark Darcy has quickly become, ahem,
unavailable.) Still, producers Eric Fellner and Debra Hayward liked the
idea of exploring a mature Bridget with a ticking biological clock, so
they enlisted Fielding to write a screenplay that tells an alternate version
of the story.
Zellweger, meanwhile, was open to crossing the pond again for the right
tale. She hadn’t released a film since 2010 (by personal choice, she
says), but her love for her most indelible character had never waned. “I
like that she tells what it’s like to be a woman in these really
relatable situations,” she says. “It’s so right to tell a story
about Bridget in this stage of her life.” In this case, about what
happens when your choices steer you off the culturally prescribed path.
“All of Bridget’s friends have moved on,” Hayward says. “They’ve
all got children. It’s what we’ve all sort of gone through as women,
isn’t it?”
The primary man in the franchise, Colin Firth, has had his own journey
with Bridget. Although he earned an Oscar for The King’s Speech in
2011 after starring in the first two movies, he says he never quite said
goodbye to her. “I thought it would be very po-faced to try to run from
it,” he says, but admits that his character has a much tougher rival for
Bridget’s affections this time around. Hugh Grant’s Daniel Cleaver is
no longer in the picture (or the movie), but Cleaver was too much of a
narcissistic cad to pose a real threat to Darcy. Dempsey’s Jack Qwant is
a much better man. “Mark didn’t think Daniel was better than him,”
Firth, 55, says. “This guy Jack seems to be more of the charming good
guy, and in some ways that’s scarier.”
Finding that charming good guy was the last major task facing the
filmmakers. After original Bridget director Sharon Maguire agreed
to sign on, the whole gang came back together, including Jim Broadbent and
Gemma Jones as Bridget’s parents. Even her buddies Shazza (Sally
Phillips), Jude (Shirley Henderson), and Tom (James Callis) returned. All
that was left was finding the lucky bugger to lure Bridget away from
Darcy. Enter Dempsey, whose calendar opened up last April when he left Grey’s
Anatomy after playing Derek “McDreamy” Shepherd for 10 years.
“It all happened very quickly,” explains Dempsey, 49, who was in the
midst of his summer racing season for Porsche when he got the call for Baby.
“It’s completely reinvigorated me. I’ve enjoyed it immensely,
getting back to something that has a beginning, middle, and end. It’s
just a completely different approach. With Grey’s, you’re just
grinding it out. In this instance, you take the time to get through
things.”
She sure doesn’t look pregnant. On the London set of Baby, Zellweger, 46, looks nearly as lithesome as she did in
her Oscar-nominated turn as Roxie Hart in 2002’s Chicago.
As any fan of the novels and movies knows, Bridget’s weight
(and in turn Zellweger’s) has been a major point of discussion – on screen
and off. In the books, she’s depicted as squidgy, so when the first film debuted, Zellweger was criticized
for not packing on enough pounds. That could easily happen again, so the
director is eager to explain the thinking behind Bridget’s trimmer
waistline. “We all really loved the notion that Bridget, 15 years on, had finally
reached her ideal weight – somewhere between a U.K. size 10 or 12 – but still hadn’t
solved any of her issues about love and loneliness,” Maguire says.
“One of the reasons the first film worked was not just because of the
comedy but because people identified with Bridget’s fear of loneliness.
It’s still a prominent theme in the character’s journey even in the
third film, and an integral point of access for the audience to empathize
with her.”
Zellweger, who nearly broke the Internet in October 2014 when a picture
of her from Elle magazine’s Women in Hollywood event prompted
rampant speculation that she had done something to her face, seems ready
to endure a new wave of scrutiny, emboldened by the support she says she
received from her fans at
the time, though she says she was able to isolate herself from the actual
discussion of her appearance. “All I know is that people were sending
support, which means that I must have needed it,” she says. “When
people ask me, ‘How did that feel?’ I’ll say, ‘I don’t know.’
I know it sounds pretty unlikely that a person might be able to keep
herself clear of those words or of that experience, but I have and it
takes effort. But I have succeeded. What good comes from knowing that
something like that has happened? Less fear.”
Maybe, but it’s clear that Zellweger hasn’t entirely quieted those
negative voices that can haunt almost any woman in the public eye. In
between takes on the set, Zellweger tells her makeup artist that she
blames a dinner of salty soup the previous night for her “terrible”
appearance, and insists on misting her face. If she’s anxious, though,
Firth says he never sees it. “It seems like she will endure anything
with a smile on her face,” he says. “I know that sounds like the
routine colleague gushing, but it’s true. She never complains. Her
workload is bigger, but she just never even seems to have a bad day.
Obviously she must have. But she doesn’t let anyone else see that.”
The producers have taken their share of punches too over the years. The
character is so important to so many people that every decision they make
is dissected and debated on social media. “We get a lot of rubbish
thrown at us,” Fellner says. “When we were making a second film, we
were asked, Why? How’s that going to work?’ On this film it’s ‘Are
the people too old? Blah blah blah.’ You’ve just got to stick with
what you believe and hope it works.”
And if all else fails, throw in a surprise ending. None of the cast know
who fathered Bridget’s baby or who she’ll choose (if anyone) as her
beau. Different endings were shot, and the plan is to keep the actors in
the dark – possibly
until the premiere. “It’s kind of brilliant,” Zellweger says.
“Nobody has said yet, and they’re keeping it that way.” In the
meantime, she won’t be checking the Internet to see what anyone thinks
Bridget – or she – should do. “I work, so there’s not a lot of
time for an email exchange, let alone to go read things and be aware of
what’s going on,” she says. “I want Bridget to be authentic, and I
care more about that than the perceptions of me.” Spoken like the plummy
heroine we know her to be.
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