THE COMMERCIAL MOVIE OF THE WEEK
BRIDGET JONES’S BABY (2016) by Sharon Maguire
“Relationship Status: Beyond Complicated”
An important part of the seventh art are the sagas have been, are and will be important in the history of cinema. Generally, with some exceptions (“The Godfather”), usually have a zenith and sunset, a part that define and characterize and other commonly surplus and dispensable filler. Something that is often characteristic of them, subject to not get everything one but chronologically, and is evolving and molded according to the era or period in which they are to brand each of their deliveries and how society at that time; that is to say, they are malleable depending on the time.
With the third installment and perhaps last Bridget Jones: “Bridget Jones’s Baby,” a tribute to the sagas in film, making it a classic is made. If a particular mood, hidden behind pride and chameleonic interpretation of Renée Zellweger, in the first installment, Bridget, single, smoking and consuming alcohol, unattractive regularly and with a traditional English family; He had to dueling, or rather her two suitors, including Daniel Cleaver (Hugh Grant), the prototype of Playboy British and Mark Darcy (Colin Firth), champion of the English phlegm; in the second and decided by Mark and hampered by the flirty Cleaver lunges, try to cope with his jealousy towards a young and attractive female colleague Mr. Darcy. Losing, the second installment, bellows with respect to the first, and making believe that the third, released 15 years after the first and again directed by Sharon Maguire (the second one directed Beeban Kidron), is going to be dissolved like sugar in a cup of hot tea, echoing what many sagas are a kind of parasites from your first.
In this latest installment, Bridget has broken the relationship with Mark Darcy and the promise of marriage and dawns new single and alone in his London flat usual on the day of his birthday. At work, a colleague (Sarah Solemani) invites you to a weekend of debauchery to a music festival, where he meets and sleeps with Jack (Patrick Dempsey), an American millionaire who described a mathematical algorithm for Love. With a funeral through the Daniel Cleaver by plane crash, comes as godmother to a family christening where the sponsor is nothing more and nothing less than Mark Darcy (Colin Firth), who has to make “godfather reserve” for missing the principal. Both had years without seeing, except funeral Cleaver, and after confessing Darcy to be separated from his wife, they return to their old ways and both lie in the celebration, leaving Bridget raudamente at dawn, leaving again Mark. Weeks later, Bridget Jones discovers she is pregnant and does not know who the father is.
With the latest release, Sharon Maguire (with the collaboration on the screenplay by Emma Thompson, who also makes rude gynecologist in the film and, eluding the theme radically from the 3rd novel published in 2013) has managed to relaunch the saga. It has made a very successful blend of natural and authentic humor Bridget Jones, despite the significant facial change Zellweger; adapted to modern times without losing the essence or falling into ravings to attach too much to the present day. Bridget is mobile, no internet and instant messaging, there is much more casual relationships, sexual freedom, single mothers and “hipsters” but has not changed one iota in its sweet awkwardness and gift of opportunity to make a fool of yourself and get to wake up more of a laugh and fun time to any viewer.
Above all, what has been achieved, although it seems simple, is to get to the essence of what is Bridget Jones. Times have changed, been a while, but the protagonist has adapted very slowly to them, it has not been surgical but his humor is the same with a little sweetness due to the maturity of the character, without succumbing to bad taste nor do literally slapstick to appeal to the hypothetical new viewers of the new, which is usually a very common mistake in the current comedies, especially if they are sequels to previous installments. It’s not the best comedy that has been done or will be done, but to thank the previous and make little pretense personality demonstrated its main virtue in style, almost immaculate.