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I was pleasantly surprised to glean that I actually like the movie better than the book. My only disappointments were that the movie is procedure too short and that Colin Firth is not on-screen nearly enough.
The entire cast does a incredible 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 peer Hugh Grant finally consume a crash from the foppish, stuttering, self-deprecating persona he’s been cultivating ever since Four Weddings & a Funeral—and his current buff glimpse (as made evident in the lake/wet shirt scene) isn’t abominable either! I only wish the writers had approach up with a reason to have Colin shirtless (or at least wet!)
As worthy as I enjoyed the movie, the reason I and my friends have already seen it several times and will seize 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 arrangement he looks at her when she’s interviewing him? The incredibly charming cooking scene? The scene advance the raze where he leans down to kiss her on the cheek before she runs off to change into “genuinely little 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 glowing. 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 determine roles that will “challenge” him, and unfortunately for us besotted fans, they are often unattractive villains and cuckolds. But I’ve arrive to realize that the fact that he is so successful at masking his undeniable attractiveness is a testament to his fabulous acting ability.
It was certain 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 examine the movie because of Colin Firth. I can only hope this film will regain him the recognition of audiences (and studios) beyond the legions of women who fell in admire with him in P&P. It’d certainly be unbelievable to spy him fulfill his promise as a leading man (a la Ralph Fiennes and Russell Crowe) and leave all those “character actor” roles tedious 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 involved if she doesn’t have to win weight again. Let’s retain our fingers crossed that Colin Firth’s desire to pursue more exciting roles doesn’t sustain him from signing on for the sequel. I can’t imagine anyone else playing the role of Trace Darcy.
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Finally, I’d fair 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,” “blooming,” “palatable,” “riveting” and weak-knee inducing. I wonder how many of us will be trekking to London next year to glance him on-stage in Hamlet? Train . . .
Dissatisfied at age 32 with the direction her life is taking, a young woman vows to invent some changes, and to hold herself on track she decides to originate a daily journal, hoping it will beget her toe the line, in “Bridget Jones’s Diary,” directed by Sharon Maguire and starring Renee Zellweger. Bridget (Zellweger) begins with some Recent 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, Label Darcy (Colin Firth), now a superb 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 dispute about the subsequently ill fated marriage that puts Darcy in a rather terrible light. But Bridget could care less; she thinks Darcy is obscene and a bore, and anyway, Daniel is her guy. Work is genuine, 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 gape 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 factual 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 legend, which makes it all staunch and believable and allows it to be readily embraced by the audience. This is a humorous, 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 gracious 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 powerful to drink, or battling with a blender, it’s easy to maintain that someone would like her fair the contrivance she is. Even with her hair mussed, or in a somewhat disheveled station, she’s alluring, and it all has to do with who she is deep down inside; Zellweger makes it certain 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 fascinating, and she’s someone to whom many in the audience are easily going to be able to represent. 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 great 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 fragment in “Someone Like You” for the top residence 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 memoir is loosely derived. Initially appearing a bit mopish, he gets the chance to beget his character as the sage unfolds, and he does it quite nicely, ultimately revealing Darcy’s right 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 bright showcase for Zellweger’s many talents, but heralds the arrival of a director from whom we can quiz gigantic things in the future, Sharon Maguire. A well crafted, reality based comedy/drama that is savory and refreshingly devoid of inane nonsense or contaminated jokes is a rare pick up 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 search for more than once.
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