As a lifelong gamer, I’ve seen my fair share of sequels that fell short of their predecessors, but Paddington in Peru is a rare exception. Having grown up with the original books by Michael Bond and the delightful film adaptations, I approached this third installment with a mix of excitement and trepidation, much like a seasoned adventurer embarking on an unknown journey through the Amazon jungle.
Instead of engaging in endless discussions, it’s often the case that third films in a series don’t surpass their prequels in terms of quality, save for rare instances such as “Harry Potter and the Prisoner of Azkaban” or “Toy Story 3”. With a feeling of impending letdown, similar to children understanding that their parents’ financial problems will lead to less thrilling holiday gifts this year, we delve into the analysis of “Paddington in Peru”. Now, this film is far from disgraceful and boasts several delightful aspects, such as breathtaking landscapes, a captivating adventure narrative for kids, and Olivia Colman portraying a maniacally grinning, intermittently singing, nun.
However, it falls upon Paddington 3 (PIP) to step into the shoes of two exceptionally well-received predecessors – Paddington (2014) and Paddington 2 (2017). These films brilliantly revitalized the charming but somewhat antiquated creation of Michael Bond, A Bear Called Paddington, first published in 1958. By preserving the series’ quaintly British essence while embracing the vibrant cultural mosaic that characterizes modern London – a city renowned for its welcoming attitude towards immigrants from all walks of life, be they humans or animals like our friendly Peruvian bear – these films struck a chord with audiences worldwide. Paul King, who directed both previous installments, has since moved on to reimagine Willy Wonka, so the baton for this latest adventure has been handed over to Dougal Wilson, a British director renowned for his Christmas commercials and music videos, particularly those he’s created for John Lewis department store, such as the one featuring the boxing dog on a trampoline.
Although PIP might not have the quirky humor and ominous undertones that made the first two Paddington movies stand out, it still manages to deliver within its constraints. Perhaps Wilson’s experience in advertising allows him to maintain consistency with the brand, even while deviating from the usual formula. As Paddington, our beloved bear (again skillfully brought to life through CGI and voiced by Ben Whishaw), leaves behind the colorful Windsor Gardens and returns to his homeland, it means a change of scenery for the Brown family as well. This shift might result in less of that traditional ‘tea-and-crumpet’ charm, but it broadens the film’s appeal towards Latin American audiences instead.
Following an introduction that reminisces about Paddington’s youth, highlighting his early fascination with citrus fruits and how it led to his separation from his family and being taken in by Aunt Lucy (voiced by Imelda Staunton) and the late Uncle Pastuzo (Michael Gambon), the current story finds Paddington receiving an unusual letter from the Reverend Mother (Colman), who manages a retirement home for elderly bears in Peru. She expresses concern about Aunt Lucy appearing distressed, hinting she might be yearning for Paddington’s presence. Feeling remorseful, Paddington, who has recently obtained his British passport, resolves to visit Aunt Lucy in Peru. Mary Brown (Emily Mortimer, offering a fresh and appealing spin on the character previously played by Sally Hawkins), worried that the family is growing apart as the children mature, convinces everyone in the household to travel there, including housekeeper Mrs. Bird (Julie Walters).
The Brown family, much like the Muppets’ depiction of a journey using miniature figures on a map, arrive at their destination but find Lucy missing mysteriously. The nun, who despite her cheerful demeanor, hints at suspicion with her choice of words, suggests that Lucy ventured into the dense jungle. To locate her, they search for and use a map found in Lucy’s room, which necessitates renting a boat for the river section of their journey, captained by a man named Hunter Cabot (Antonio Banderas). Accompanying him is his daughter Gina (Carla Tous). While Cabot appears friendly, he often speaks to deceased relatives, such as a conquistador, a missionary, and an aviatrix – all portrayed by Banderas himself. These characters share a relentless quest for El Dorado and the supposed Incan riches hidden somewhere in the area, fueling their obsession with gold fever.
In the previous movies, the villains had unique and quirky personalities – a maniacal taxidermist lady and an insane actor. However, in this film titled Paddington in Peru, the antagonists’ greed for gold feels repetitive, while the use of El Dorado as a plot device seems overly clichéd and unoriginal. Despite this, the film might be more appealing to younger audiences due to its balanced distribution of physical humor. The opening scene showcases Paddington attempting to take his passport photo in a booth, cleverly edited. As the movie progresses, Wilson adds excitement with a series of creatively designed accidents leading to Paddington capsizing the boat and later being chased through an unnamed abandoned Incan city (represented by Machu Picchu) by Cabot for the climax. The animation on Paddington is exceptionally detailed, blending seamlessly with live-action figures and virtual backgrounds, making it easy to overlook that a humorous scene paying homage to Buster Keaton and Steve McQueen’s early work originally relied on real-life stunts, not computer-generated imagery.
In an exceptional manner, the film Paddington in Peru strongly argues that organizations such as the American Academy should begin acknowledging the remarkable accomplishments in visual effects performances. The performance that truly stands out in this movie, besides Colman’s portrayal of the mad nun, is that of the title character, a harmonious blend of animation direction by Pablo Grillo, visual effects teams, and Whishaw’s voice acting. He seems to receive more close-ups than any human actors. While returning actors like Hugh Bonneville, Madeleine Harris, and Samuel Joslin as the other Brown family members offer noteworthy performances, along with Mortimer, it is Paddington who commands attention most effectively, especially through his best performance here – a skillfully executed study of facial expressions, utilizing lighting, particularly the warm glow in his brown eyes, and comic timing.
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2024-11-04 15:25