Bridget Jones: Mad About the Boy – Film Review
Mention the name Bridget Jones to most people and the instant associations discussed may be of a diary writing, calorie counting, accident prone woman epitomising that twenty something angst with an apartment in an enviable location in London – atop Borough Market! Bridget, played with verve by Renée Zellweger in a career defining role since her Jerry Maguire part, may have been that flawed heroine of the mid ‘90s portraying a bygone era but as fashion recycles itself so too has our Bridget, who is back for the humorous fourth instalment, Bridget Jones: Mad About the Boy, with a rebrand that will satisfy fans and new audiences alike.
Love her or loathe her, it is undeniable that Bridget Jones was an iconic character, who may have singlehandedly coined the phrase ‘singleton’ with her musings about her love life but had a fabulous circle of friends. Basically, Bridget Jones ran so that Carrie from Sex and the City and Fleabag could walk! The franchise began with Helen Fielding’s bestseller novel, Bridget Jones’ Diary and culminates with the third novel Mad About the Boy. Bridget herself provides further insight into her chaotic life but has effectively had that rebrand and moved across the river into the leafy suburbs of North London with two children in tow.
Markedly, the reduced levels of silliness in the tone of Mad About the Boy signal that change in Bridget. Indeed, we are still treated with scenes of her group of friends dissecting her love life and it is heart-warming seeing those familiar faces that we have grown up with over the past twenty four years return and to view their transformations as well as meeting new characters. Some characters have also re-surfaced from the dead as Hugh Grant’s Daniel Cleaver – he hasn’t changed much, also makes an appearance here. However, Mr Darcy’s absence from Bridget’s life is acutely felt thus permanently severing that romantic Pride & Prejudice connection enjoyed by the franchise.
As such, a sense of loss is skillfully interwoven, which conveys a more sombre, mature tone to its predecessors. Director Michael Morris is unafraid to linger on this profound arena of life as grief is a monumental life event that can unwittingly overshadow everything else. Thankfully, Morris’ direction provides that sense of introspective reflection, for Bridget, and sufficient breathing space during the film’s poignant moments. Such decision serves the film well and whilst there is no equivalent to Bridget’s drunk singing rendition of All By Myself, alone on a sofa, there are photographs of Mr Darcy lingering within Bridget’s household, which, combined with her children’s mourning are designed to tug at the heartstrings.
However, the film changes tack – Bridget is still young at heart, she is thrust into the world of dating apps, and the ‘boy’ enters her life during a mishap on Hampstead Heath. Roxster is such boy, played by a charismatic Leo Woodall, and effectively provides that nostalgic ’90s Diet Coke advert effect with ‘Mad About the Boy’ playing on cue and is objectified within diving scenes, reminiscent of Mr Darcy’s antics. In this sense, Mad About the Boy highlights the current trend for renowned actresses returning to the silver screen – there are the older woman, younger man dynamics akin to Nicole Kidman in Babygirl or that subtle critique of societal obsession similar to the pressures for Demi Moore’s character within The Substance. Zellweger also proves to be a good sport in an amusing scene when her efforts to rebrand and to maintain a youthful appearance, via beauty enhancements, backfire with unintended hilarious outcomes.
Historically, there may have been criticisms of the lack of substance within the franchise and Bridget’s fixation on finding Mr Right but Mad About the Boy has effectively fixed those cracks and provided a fleshed out story arc for our Bridget. Just as we have matured over the past two decades she has done so too, which renews interest within the character’s direction and her relatability.
Fortunately, this film also retains that admiration for London’s backdrops that the first film created. Even though we may not all be able to afford a house within a stone’s throw of the film’s Hampstead Heath settings, it remains glorious encountering London through Bridget’s eyes with a wistful sense of escapism and there are blink and you’ll miss it cameos of the stunning The Pig’s Ear pub in Chelsea and the charming French restaurant La Cage Imaginaire in Hampstead.
Just like Bridget, we may not be as carefree as we once were when she first began her witty diary entry commentary, which have pride of place on her bookshelves, but we can still take refuge in the fact that Bridget remains one of us, flawed and all. Morris’ decision to include throwbacks to the earlier days of our flawed heroine are that added gem to this personal, intimate finale – with big pants and all and indeed there are Richard Curtis inspired scenes as a nod to his involvement in the earlier Bridget Jones films.
Bridget’s clumsy exits may now be gone from our screens with this enjoyable final hurrah, but she may never retreat from our lives fully having made such an imprint on British pop culture. There will therefore always be a place for the relatable Bridget, with an amazing soundtrack to match, and as this new film has proven, sometimes all that we might need is a little help from our friends and a re-brand! Bridget Jones: Mad About the Boy is like that personal, witty school re-union that you will not want to miss!
