Hopes were not high for Bridget Jones’s Baby. A development plagued by delays and complications, the exit of Hugh Grant as the iconically sexy Daniel Cleaver, an increasingly impatient and implanted Renee Zellwegger, all culminating in a bizarre September release date – not quite summer blockbuster, and not even close to Bridget’s usual reindeer jumper Christmas slot. Not to mention the fact that it followed in the footsteps of the critically panned Edge Of Reason, an indulgent, bloated, frilly mess of a sequel.
It comes as a bit of a surprise, then, that Bridget Jones’s Baby is close to perfect. Not 100% perfect. No film is 100% perfect. But it’s close. In fact, when films are as well made as this one, it’s hard to put your finger on why. Interestingly, a big factor in its success was probably British acting legend and queen of enunciation, Emma Thompson. She joined proceedings at a late stage, both as a character – Bridget’s hilariously cynical antenatal doctor – and as an assistant scriptwriter. It’s brilliant to imagine Emma sweeping onto set, handing a distressed Renee a piping hot espresso, clapping her hands together and saying “RIGHT, let’s get this sorted!”
And get it sorted she did! Her trademark glint-eyed sense of irony really shows, and on top of that, the script is truly modern, original and funny. It couldn’t be more 2016. In fact it’s slightly 2017, with well-educated, non-patronising explorations of everything from polyamorous relationships to the treatment of pregnant women in the workplace. So many film franchise instalments have tried to keep up with the times lately, but they’ve done it clumsily, by shoving iPads into the hands of confused protagonists, or worse, making awfully misguided transgender jokes (we’re looking at you, Ab Fab). Bridget Jones’s Baby DOES make reference to millennial knit-your-own-clichés like Instagram, kale smoothies and man-buns, but it does so with a knowing, self-conscious wink.
It’s also refreshingly feminist. The feminist credentials of Bridget Jones, both as an individual and as a cultural phenomenon, have always been up for debate. In the past two movies she’s had some strong qualities, but ultimately, has been rather helpless and fallen into the waiting arms of a man. This is different. Granted, she still wants a man. And that’s fine! It’s ok to want a man! But she’s far more assertive, she makes her own decisions, and does exactly what she wants on her own terms, much to the confusion and anger of Colin Firth and Patrick Dempsey, who are often literally stumbling after her in the wake of positive pregnancy tests, drunken festival shags, funereal faux-pas and cringeworthy christenings.
It does well on the slapstick front too. It wouldn’t be a Bridget Jones movie without a bit of slapstick, but slapstick is hard to do well; everything’s been done before, and at the end of the day, there are only so many times that someone falling over can be funny. But they pull it off! We won’t ruin it for you, but there’s a particular scene involving a revolving door, which is so outrageous and original, you can’t help but laugh.
The next box this movie ticks is acting. Renee Zellwegger, looking slightly unrecognisable but nevertheless sensational, delivers possibly her best turn yet as Bridget. It’s mindblowing when you remember…SHE’S NOT BRITISH! She’s from Texas! Anyway, it’s a very rare and special performance when someone gets so totally involved in their character. Other iconic examples that spring to mind are Jonny Depp as Jack Sparrow, and PERHAPS Sarah Jessica Parker as Carrie Bradshaw (although she was essentially just playing herself, so that might not count).
It also has wonderful turns from all the other characters, old and new. Bridget’s friends are always a joy, especially the sweary Sally Phillips as Shaz. There’s a great new character in Bridget’s younger newsreader colleague Miranda, played with luminous, hair-tossing confidence by the relatively unknown Sarah Solemani. Patrick Dempsey is appealing, sexy and realistic as new love interest Jack. And of course the old guard; brilliant Gemma Jones and Jim Broadbent as Bridget’s well-meaning but hopeless parents; Colin Firth, the epitome of stiff-upper lip; and good old Celia Imrie, who seems unable let a British romcom pass her by without diving in to deliver some sass!
Special mention goes to Kate O’ Flynn, who plays Bridget’s ball-busting hipster new manager. With blood-red lipstick, jangling bracelets, a straight fringe and an unblinkingly modern and cynical take on media, she’s a dead ringer for one of our faves, editor-at-large of Attitude, Paris Lees! In fact, the character is SO like Paris, even down to the accent and mannerisms, that it’s uncanny. There’s a distinct possibility she may actually be based on Paris. We’ll see what Paris thinks. Let us know when you see it babes.
But the best thing about Bridget Jones’s Baby is that it takes risks. Risks it didn’t need to take. They could have churned out two hours of fluff, slapped Respect by Aretha Franklin on the soundtrack, got critically panned, and made a good few million. Instead, they actually used imagination and intelligence to make a credible, rewarding piece of cinema. It is possibly the first mainstream movie in 2016 to do this. Interestingly, America weren’t ready for it. Its box office figures across the pond aren’t just disappointing, they’re terrible. But here, it’s paid off. People love it and it’s broken box office records. Good old Brits, we know great comedy when we see it! And Bridget Jones’s Baby truly is a great comedy. Come the fuck on Bridget!
By Dylan Jones
Bridget Jones’s Baby is out now.
