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I was pleasantly surprised to salvage that I actually like the movie better than the book. My only disappointments were that the movie is contrivance too short and that Colin Firth is not on-screen nearly enough.
The entire cast does a unbelievable job of bringing Bridget Jones’s quirky world to life. Renee Zellweger effectively portrays Bridget Jones as slightly ridiculous but lovable, and Hugh Grant and Colin Firth are perfect in their respective roles. It’s certainly nice to scrutinize Hugh Grant finally select a crash from the foppish, stuttering, self-deprecating persona he’s been cultivating ever since Four Weddings & a Funeral—and his current buff see (as made evident in the lake/wet shirt scene) isn’t dreadful either! I only wish the writers had advance up with a reason to have Colin shirtless (or at least wet!)
As grand as I enjoyed the movie, the reason I and my friends have already seen it several times and will assume the DVD the day it comes out is Colin Firth and his quietly (but devastatingly) mesmerizing performance. Several critics have commented that Renee Zellweger and Colin Firth have no chemistry, but I beg to differ. That very palpable chemistry (The draw he looks at her when she’s interviewing him? The incredibly charming cooking scene? The scene reach the ruin where he leans down to kiss her on the cheek before she runs off to change into “genuinely slight knickers”? ) is what makes the ultimate resolution of the movie so satisfying.
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Having long been a fan of British films, I’ve always been aware of Colin Firth as an accomplished actor (e.g., Another Country, A Month in the Country, Valmont), but it wasn’t until Pride & Prejudice that it dawned on me that he was also incredibly delicate. He then went on to play rather unappealing characters in such films as Circle of Friends, The English Patient and Shakespeare in Esteem, and, me being the fickle fan that I am, forgot about my crush on him . . . until now. As a “serious actor,” he seems to resolve roles that will “challenge” him, and unfortunately for us besotted fans, they are often unattractive villains and cuckolds. But I’ve reach to realize that the fact that he is so successful at masking his undeniable attractiveness is a testament to his improbable acting ability.
It was determined from Disney’s marketing and PR campaign that they felt Renee Zellweger and Hugh Grant would be the only draws here in the U.S., but I know a lot of people who went to seek the movie because of Colin Firth. I can only hope this film will salvage him the recognition of audiences (and studios) beyond the legions of women who fell in worship with him in P&P. It’d certainly be incredible to gaze him fulfill his promise as a leading man (a la Ralph Fiennes and Russell Crowe) and leave all those “character actor” roles late him.
It looks like Working Title Films is already talking with Renee Zellweger about making the film version of “Bridget Jones: The Edge of Reason.” Apparently, she’s only fervent if she doesn’t have to derive weight again. Let’s withhold our fingers crossed that Colin Firth’s desire to pursue more engaging roles doesn’t preserve him from signing on for the sequel. I can’t imagine anyone else playing the role of Imprint Darcy.
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Finally, I’d unprejudiced like to say that I wholeheartedly agree with other IMDB/Amazon users who’ve described Colin Firth as “sex on a stick,” “dreamy,” “swoonsome,” “a revelation,” “resplendent,” “savory,” “riveting” and weak-knee inducing. I wonder how many of us will be trekking to London next year to witness him on-stage in Hamlet? Hiss . . .
Dissatisfied at age 32 with the direction her life is taking, a young woman vows to acquire some changes, and to hold herself on track she decides to inaugurate a daily journal, hoping it will develop her toe the line, in “Bridget Jones’s Diary,” directed by Sharon Maguire and starring Renee Zellweger. Bridget (Zellweger) begins with some Current Year’s resolutions that include no more drinking or smoking, not being paranoid about her weight, and developing poise. And– last, but not least– to avoid any romantic attachments to alcoholics, workaholics, peeping Toms or perverts. Of course she promptly falls for the one man she knows who embodies all of those characteristics: Her boss, Daniel Cleaver (Hugh Grant) . In the meantime, her mother, Pam (Gemma Jones), continues to play matchmaker for her daughter. At a holiday gathering of friends and family, Pam nudges her in the direction of an musty childhood chum, Impress Darcy (Colin Firth), now a estimable attorney, and recently divorced. Their initial meeting, however, proves to be a less than monumental event, further complicated by the fact that Cleaver was Darcy’s Best Man at his wedding, and has some tales-out-of-school to announce about the subsequently ill fated marriage that puts Darcy in a rather awful light. But Bridget could care less; she thinks Darcy is shameful and a bore, and anyway, Daniel is her guy. Work is wonderful, her life is going well and– as she is about to wake up and realize– she hasn’t kept a single one of her resolutions. And, oh! she should have.
First time director Maguire proves with this auspicious debut that she certainly knows her territory and how to negotiate it. She has the touch and the discover for detail of a seasoned professional, and her sense of timing is impeccable. She successfully avoids a major pitfall that do in many rookie directors honest out of the chute, by never fishing for the cheap, forced, disdainfully pretentious or concocted laugh. Everything in this film, especially the humor, flows freely and naturally from the circumstances of the characters and the sage, which makes it all precise and believable and allows it to be readily embraced by the audience. This is a amusing, often hilarious movie, but it’s also very warm and at times poignant, and for handling it so sensibly, and with such sensitivity, Maguire deserves to be granted even more kudos. It’s quite simply an exceptionally well made film, presented with a style and grace that reflects that of the director herself.
Of course, having a superlative leading lady was certainly not disadvantageous to Maguire’s efforts, either, and Renee Zellweger has never been better than she is here as Bridget. With her quirky friendly looks, personality and charisma, she is endearing, and she invades Meryl Streep territory by affecting a perfect British accent. Whether she’s lip-syncing to a Celine Dion song, doing karaoke at an office party after having a bit too great to drink, or battling with a blender, it’s easy to maintain that someone would like her fair the map she is. Even with her hair mussed, or in a somewhat disheveled set, she’s alluring, and it all has to do with who she is deep down inside; Zellweger makes it obvious that this is a woman of substance, and it’s easy to like her. There’s a down-to-earth honesty and accessibility about her that makes her curious, and she’s someone to whom many in the audience are easily going to be able to record. For her portrayal of Betty in “Nurse Betty,” Zellweger received a Golden Globe; “Bridget” should land her smack in the middle of Oscar territory.
As Bridget’s smarmy boss, Daniel, Hugh Grant turns in a distinguished performance, putting a rather tarnished sheen on his natural charm that works so well for this character. It’s a nice departure from his usual bumbling, reserved Mr. Nice Guy routine he perfected in such films as “Notting Hill,” and “Four Weddings and A Funeral.” With this role he challenges Greg Kinnear’s allotment in “Someone Like You” for the top set in the Boss-You-Should-Never-Date category. And Firth does a memorable turn as Darcy, fairly reprising his role of the same name in the PBS miniseries, “Pride and Prejudice,” from which this fable is loosely derived. Initially appearing a bit sulky, he gets the chance to do his character as the myth unfolds, and he does it quite nicely, ultimately revealing Darcy’s apt nature.
In a supporting role, Gemma Jones gives a performance that deserves mention, doing a top-notch job of fleshing out Bridget’s mother in the brief time she is allotted. Rounding out the supporting cast are Crispin Bonham-Carter (Greg), Jim Broadbent (Colin Jones), James Callis (Tom), Sally Phillips (Shazzer), Honor Blackman (Penny), Embeth Davidtz (Natasha), Shirley Henderson (Jude) and Celia Imrie (Una) . A warmly silly, uplifting film, “Bridget Jones’s Diary” is a delectable and satisfying experience with more than a touch of magic in it. Not only is it an captivating showcase for Zellweger’s many talents, but heralds the arrival of a director from whom we can request spacious things in the future, Sharon Maguire. A well crafted, reality based comedy/drama that is scrumptious and refreshingly devoid of inane nonsense or outrageous jokes is a rare gather these days, and this is one of the best to hit the camouflage in a long, long time. It’s a film to be heartily embraced, and one I guarantee you’ll want to explore more than once.
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