‘Bridget Jones: Mad About the Boy’ Review: Renée Zellweger Shines in Poignant Moments of Closing Chapter Flush With Fan-Service

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It’s been close to 25 years since Renée Zellweger initially donned the role of the wine-loving, smoking, chatty, clumsy, and painfully awkward protagonist in “Bridget Jones’s Diary”. Over four films, this once single woman, who was always navigating complicated relationships and wrestling with self-doubt, has essentially evolved into a collection of quirks, habits, and adorable oddities. This is reminiscent of the fusion between an actress and her character, like Sarah Jessica Parker and Carrie Bradshaw, who are both of similar age. However, there’s a unique charm in the way Zellweger and Bridget complement each other that’s hard to deny. Despite moments where the humor feels forced and the plot is predictable, this charm carries the fourth installment.

What sets apart “Bridget Jones: Mad About the Boy” is its heartfelt portrayal of the protagonist’s grief and her subsequent emergence from it. This aspect is particularly noteworthy in Zellweger’s performance. In a series known for its obligatory happy endings, it might not be a surprise to label this movie as a soothing balm, demonstrating how even the most crushing sorrow can pave the way for the delightful surprises and contentment that come with a fresh start.

As a devoted admirer, I must say that Michael Morris, who’s well-known for his television work and ventured into features with Andrea Riseborough’s film “To Leslie,” directs “Mad About the Boy.” While this movie can sometimes feel sluggish and lack rhythm at times, even the upbeat soundtracks can only hide this to a certain extent. However, the innate fondness viewers have for the character is bound to make this Universal release a massive success in the U.K., and a compelling attraction in the U.S., exclusively on Peacock where it will be streamed. Fans will undoubtedly relish the powerful emotional lift in the heart-wrenching finale.

The screenplay, penned by series author Helen Fielding, Dan Mazer, and Abi Morgan, builds upon a backdrop of sadness, fast-forwarding to several years post the events depicted in the third installment, “Bridget Jones’s Baby.” Following her emotional liberation that led to marrying Mark Darcy (played by Colin Firth), Bridget has been grappling with deep sorrow for four years since his demise during a humanitarian mission in Sudan. The memory of Mark is so vivid that she continues to see him.

Mabel, their lovable six-year-old daughter (Mila Jankovic), hasn’t had the chance to know her father very well due to her young age, but she still inquisitively asks every man she meets if he could potentially be her new father. On the other hand, Billy, their 10-year-old son (Casper Knopf), is a clever boy who tends to keep to himself, carrying a subtle sense of sadness with him.

As I delved into the latest episode of “Bridget Jones’s Diary,” it felt like a nostalgic nod to the series origin, as Daniel Cleaver – my old boss, ex-lover, and let’s not forget, a charmer extraordinaire – appeared on screen, alive and kicking after all those years. You see, I had heard rumors of his demise in a plane crash, but boy, was that just a clever twist!

Now, he’s more than just an old flame; he’s a dear friend, albeit still the same old Daniel with his flirtatious ways. The years may have mellowed him slightly, but not enough to keep him from pursuing 20-something beauties. Instead, he’s swapped models for a poet, healer, and model – quite the multi-talented charmer, isn’t he?

In this role, Grant delivers some of the standout dialogue, infusing each screen appearance with a touch of playful energy and offering thought-provoking insights on mortality and enduring bonds, particularly during a somber moment for Daniel. Over the past decade, his acting career has seen a resurgence, making him an invaluable addition to most productions he’s involved in. Admittedly, he might not have been a perfect fit as an Oompa-Loompa in the enigmatic success of ‘Wonka’, but his role in ‘Heretic’ more than compensated for it.

After creating a foundation of sorrow, the authors move past the sadness and revert to their usual pattern, as indicated by Bridget energetically miming to David Bowie’s “Modern Love” while preparing her children for school in the morning.

Typically, Bridget’s friends, such as Shazzer (Sally Phillips, now a podcaster), Tom (James Callis, a life coach), and Jude (Shirley Henderson, a corporate high-achiever), all suggest that the solution to her problems is finding a romantic partner. In fact, Jude bluntly advises Bridget, “If you don’t act soon, your body might heal itself in an unexpected way.

In a similar vein as Bridget’s sexual healing journey, Miranda – one of Bridget’s previous coworkers (portrayed by Sarah Solemani) – and Talitha, Miranda’s noble co-host on their women’s daytime TV show (played by Josette Simon), decide to help Bridget find new romantic prospects. Miranda takes the lead in setting up a Tinder profile for Bridget, labeling it, “Widow Seeking a Sexual Awakening.”

Or more concisely:

Miranda and Talitha, friends of Bridget from her job and daytime TV show, help set her up on Tinder, titling her page as the “Widow in Search of a Sexual Awakening.

Introduce the familiar trope of two possible romantic leads, one being Bridget’s intellectual science teacher, Mr. Walliker (played by Chiwetel Ejiofor), and another being a younger biochemistry student who also works as a park ranger, named Roxster (Leo Woodall). This duo cross paths when Bridget and her children find themselves in a tricky situation, high up in a tree on Hampstead Heath.

In the second season of The White Lotus, Woodall shifts from his “bad boy” image to a more charming, lively character, as portrayed by his 29-year-old persona’s warmth and spontaneity, which appears to overlook the age difference with Bridget. Initially, at least, he comes across as gallant. A captivating moment, backed by Dinah Washington’s rendition of Noël Coward’s song that names the movie, sees him dramatically arriving at Talitha’s birthday party, sending the crowd into a flutter before sharing a breath-taking kiss with Bridget.

Initially, the writers positioned Roxster as the central figure, yet they struggle to develop him effectively, relegating him to a mere stepping-stone for the story. Consequently, the film’s title may be misleading, as “the boy” (Roxster) is quickly pushed aside. However, this allows for an increasing focus on Bridget and Mr. Walliker, who intriguingly adopt more of each other’s perspectives on life, with Bridget having a greater influence on him than he does on her.

The story unfolds during a school trip to the Lake District where Bridget serves as a supervisor. It might seem unusual for modern 10-year-olds to be serenading the Clash’s “Should I Stay or Should I Go,” but given this is a romantic comedy, anything that suits Bridget also fits the film’s narrative.

Ejiofor significantly enriches the film, as his portrayal of a soft-spoken, thoughtful, and intelligent character brings a touch of authenticity that grounds the story and amplifies the emotional impact. Moreover, this enables Zellweger’s performance to move beyond Bridget’s eccentricities and delve deeper into the character’s longing, which has been an essential aspect since the beginning – all without portraying her as a feminist relic or a woman incomplete without a male companion.

As a gamer, I’ve got to admit, some of Bridget’s classic quirks felt a bit repetitive – the head tilt for every inner thought, the deliberate walk, the awkward humor with a stubborn zipper, and the general chaos that surrounded her tasks. Yet, Renee Zellweger slips into Bridget like a cozy pair of grandma’s knitting, making those quirks endearing. She excels at portraying Bridget’s underlying sorrow as she gradually accepts that her life isn’t over and happiness might still be attainable.

Enhancing the emotional depth of this last, but potentially not final, chapter is a touching scene towards the end featuring a song from the popular British musical, Oliver! This melodious number serves as an overtly heartwarming tribute to tears that even the most callous-hearted might find difficult to withstand.

There’s a point to be made that several of the fresh characters don’t contribute significantly to the storyline – Nico Parker delivers an admirable performance as Chloe, the efficient nanny for the children – while it appears that some recurring characters are forcedly inserted for the pleasure of fans, such as Bridget’s parents (Gemma Jones and Jim Broadbent) and her friend Una (Celia Imrie).

Emma Thompson stands out as Dr. Rawlings, the humorous gynecologist whom Bridget consistently visits for any issues she encounters. Similar to Grant, Thompson demonstrates her professional prowess with minimal screen presence, enhancing Zellweger’s performance significantly.

Although the film lacks a unique visual style, it maintains Richard Curtis’ approach by enhancing London settings with a charming touch. It’s a location that fans of this lasting series will be eager to revisit, their nostalgia satisfied by snapshots and clips from the four movies being shown during the end credits.

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2025-02-12 12:25