The journey of Bridget Jones over the years resembles a slow-motion transition of a neighborhood from vibrant to sterile, unfolding over the course of two decades. Each film chronicles the escapades and romantic endeavors of a middle to upper-class white woman navigating life in London, yet as the series progresses, it increasingly alienates specific audiences. The original 2001 film, adapted from the novel by Helen Fielding, has achieved iconic status in both comedic and romantic genres, beloved by viewers of varying ages who resonate with the titular character’s experiences. Bridget Jones?s Diary stands out as one of the finest modern adaptations of classic literature, embodying the essence of British studio comedy. While the sequel struggled to reach the same heights, it still capitalized on the undeniable chemistry and humor shared among its three lead actors. A decade later, Bridget Jones?s Baby emerged as a sign of decline for the franchise, leaning into gimmicks aimed at enticing divorcées to theaters.
If Bridget Jones?s Baby was a signal of decline, then Bridget Jones: Mad About the Boy serves as the final nail in the coffin. This installment lacks the authentic, irreverent humor that characterized the earlier films, instead opting for a sanitized narrative that feels like idealized fanfiction for middle-aged women dreaming of romantic escapades with younger men. The portrayal of Renée Zellweger as Bridget in this film is disheartening; she transforms the character into a caricature of childish enthusiasm, reminiscent of someone who has undergone a lobotomy. The once relatable and witty woman who made bold jokes about the world around her has been replaced by a version that feels more like a target for a specific demographic seeking a modest cinematic escape (or for U.S. viewers, a casual evening in with a Peacock subscription).
Discover the Plot of ‘Bridget Jones: Mad About the Boy’
Set eight years after the events where Bridget Jones confirmed her baby belonged to Mark Darcy (Colin Firth) and they tied the knot, the story finds her as a widow with an eight-year-old son, Billy, and a five-year-old daughter, Mabel. A tragic backstory unfolds as Mark dies in an explosion while in Sudan, leaving Bridget to navigate her life as a single mother. The film opens at a dinner party where Bridget is quizzed about her love life, leading her to reflect on her chaotic existence, despite living in an affluent neighborhood and not needing to work. Seeking a fresh start, she returns to her career as a TV producer while engaging in a flirtation with the dashing younger man, Roxster (Leo Woodall). Meanwhile, she finds herself drawn to the authoritative new science teacher at her children’s school, Mr. Wallaker (Chiwetel Ejiofor). Struggling with the complexities of parenthood, the grieving process, and her own identity, Bridget embarks on a journey of midlife rediscovery.
The decision to withhold a theatrical release for this film in the U.S. was surprising, especially considering the charm of the original two movies, which transcended age and cultural boundaries to become beloved comedies and romance tales. The outstanding performances of Zellweger, Hugh Grant, and Colin Firth contributed to their success, but with Firth’s character now deceased, his absence is profoundly felt by both his family and the audience. Hugh Grant’s return as the charmingly roguish character adds a nostalgic touch, and his transformation from a reckless playboy to a supportive friend and ally to Bridget and her children represents the most positive aspect of this new narrative.
‘Mad About the Boy’ Appeals to a Mature Audience
What sets Mad About the Boy apart from its predecessors is its clear intention to resonate with parents who find humor in the antics of children, the dynamics of schoolyard politics, and re-entering the dating scene after an extended hiatus. Not all stories centered on parenting fall into this category?Sharon Horgan‘s Motherland has emerged as one of British television’s finest comedies, and many successful films have tackled themes of family and parenting. Titles like Mrs. Doubtfire, Look Who?s Talking, and even family-friendly offerings such as <em>Cheaper by the Dozen</em> provide a much more enriching experience than what Mad About the Boy has to offer.
The screenplay’s humor comes across as overly sanitized and gimmicky, lacking the sharpness of previous installments. The franchise has lost its edge, as the days of Hugh Grant’s unforgettable lines have faded, making way for Bridget and her children to engage in silly antics that feel forced and uninspired. The once relatable charm of the franchise now feels absent, replaced by a lackluster attempt to market a new narrative aimed solely at a specific audience.
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The theme of age-gap romance between older women and younger, attractive men has emerged as a recurring motif in recent romantic cinema. When executed well, it can serve as a powerful depiction of relationships that challenge societal norms regarding women. However, Bridget’s affair with Roxster comes across as a shallow narrative, reminiscent of fanfiction crafted by a housewife during her husband’s business trip. Their relationship is primarily defined by the jealousy and admiration of those around Bridget for her perceived ability to attract such a handsome partner, rather than exploring a meaningful connection that reaffirms Bridget’s worth beyond societal expectations of women as they age.
Despite Leo Woodall being a rising star in the UK, the film fails to develop his character beyond surface-level attractiveness, leading to a lack of chemistry between him and Zellweger. In contrast, Bridget’s relationship with Mr. Wallaker proves to be more substantial, providing a refreshing portrayal of a friendship that blossoms into romance. This also highlights the untapped potential of Chiwetel Ejiofor in the romantic comedy genre.
Although the film attempts to incorporate sentimental moments that convey deep emotions and reflections on grief, it often feels forced and lacks any genuine nuance. Each emotional beat seems to be presented with little context or buildup. Mad About the Boy struggles to find a balance, oscillating between lighthearted fanfiction and heavy-handed sentimentality, ultimately failing to effectively navigate the space in between.
The Challenges of Relating to Renée Zellweger’s Performance
One of the most striking shortcomings of Mad About the Boy is Zellweger’s perplexing performance. She previously garnered an Oscar nomination for her portrayal in the first film, a notable achievement for a romantic comedy. Her ability to embody a lovable klutz with charm was commendable, allowing audiences to connect with Bridget on a personal level. However, in this latest installment, Zellweger’s interpretation feels more like a caricature, lacking the depth that made the character relatable and nuanced.
Throughout Mad About the Boy, she appears to be mimicking a quirky character from a different film, exuding a constant sense of bewilderment and childlike joy. It?s reminiscent of watching a child navigate through an adult’s world for the first time, leaving viewers longing for the days when Bridget’s wit and sarcasm shone through. Instead of engaging moments that resonate with the audience, viewers are subjected to awkward dance sequences and the overused trope of disheveled hair to signify her eccentricity. Despite this, strong performances from returning cast members like Grant, Emma Thompson, Sally Phillips, and Sarah Solemani help ground Zellweger?s performance, providing a semblance of balance to the film.
As a member of Gen Z, my first encounter with Bridget Jones’s Diary occurred during my early childhood, making it challenging to fully appreciate Mad About the Boy. However, this generational divide underscores why the film feels like a misstep for the franchise. The original movies were celebrated for their exceptional writing and performances, appealing to a broad audience. Mad About the Boy represents a disappointing conclusion to a franchise that arguably should have stopped after the first sequel.
Bridget Jones: Mad About the Boy premieres on Peacock in the U.S. on February 13.
