Review
Culture
Death & life
Film & TV
Trauma
5 min read

Bridget Jones: a brilliant mess of a movie

A fresh expression of lost, stolen, love.
A couple sit on outdoor seats, her resting her head on his shoulder.
Working Title Films.

I cannot overstate how low my expectations were going into this film. I love the first Bridget Jones, a classic of the (specifically British) romcom genre. The two sequels were tedious retreads, and the idea of number four in the series elicited the opposite of delight. I went to see Bridget Jones: Mad About the Boy out of parochial duty – many of the film’s beautiful exterior shots were filmed in my parish, at the church school and the surrounding streets. I wanted to ‘represent the parish’ and show some local pride. I wasn’t alone; I saw many faces I recognised from the school gates, and I ended up sitting next to a parishioner. Thank goodness cinemas are dark!  

You’ll understand by the end of the review. 

The film opens on Bridget, rather disorganised and dishevelled in just the manner we’ve grown to love, getting ready for a night out while also preparing dinner for her children. She and Mark Darcy now have two children, and the house looks like a cyclone has passed through. She calls Daniel Cleaver, who engages in some raunchy chat, and then insists he’s on his way. Oh no! Have she and Darcy divorced? Has that bounder and cad Cleaver wormed his way back in?  

Cleaver arrives at her home…to babysit!?  

Bridget hurries off to her dinner, and as she approaches her host’s front door she smiles. Darcy is walking towards her from the other end of the street. They meet at the door and lovingly complement each other’s appearance. They ring the bell. The door opens. Bridget in standing there. Alone. 

Bridget is a widow and a single mother. Her children are adorable, but hard work. She hasn’t worked properly since Mark died. She is both overwhelmed and yet also numb. She has no life or purpose outside of the chaos of her home. Her friends – especially her gynaecologist – encourage her to re-invent and re-emerge. Go back to work, go back to socialising, go back to dating. 

This is the first five/ten minutes of the film and sets the scene.  

To begin with the positive. The script is very funny. The direction is competent and even throws in a few unexpected and moving tableaux. The cast are on fire! Renée Zellweger could sleepwalk this role, scrunching her eyes in that endearing way on command. Leo Woodall is smouldering and hunky as the young lover, and Chiwetel Ejiofor is pure charisma and chemistry as the new science teacher Mr. Wallaker. Emma Thompson chews the scenery and delivers the best jokes as Bridget’s gynaecologist. The standout is Hugh Grant, who has immeasurable fun turning the roguish lothario Cleaver into the wittiest silver-fox we’ve seen on screen for many a year. He is at the peak of his career, and it is a joy to watch. 

But… 

None of it really hangs together. There is no real plot; there are little comedy sketches and episodes that jump from one to the other – never entirely unrelated, but never entirely coherent. 

This is a film of many subplots. The subplot of Bridget and the mums at the school gate. The subplot of Bridget getting back to work. The subplot of Bridget smoothing the rough edges off Mr Wallaker (who uses a whistle like a weapon). The subplot of Daniel, of her friends from the first film, of her parents, and so on and so on.  

There is the subplot of Bridget developing a new, modern, Tinder romance with a hunky Hampstead Heath ‘ranger’ (the ‘boy’ of the title). It could be argued this is the main subplot: Bridget finding new confidence and a new lease of life via a summer romance with a handsome younger stranger. It is also the most forgettable. It’s shallow, and is really only an excuse to make updated references to the original film. 

The film is a mess. 

And yet… 

I cried. I cried more than once, and proper tears. Thank goodness cinemas are dark, because no priest wants their parishioners to see them blubbing, especially while watching a Bridget Jones sequel! This mess of a film has a single strand that runs through it, gives shape to its episodic nature, and turns it from an ‘okay’ film into a brilliant film.  

Grief. 

Bridget is grieving Darcy. Her children are grieving their father. Cleaver is grieving the life he could have had – so committed to debauchery was he, that he has no one permanent in his life (except Bridget) and he hasn’t spoken to his son for nearly two decades. She and her friends are grieving the passing of the years, and the reality that they are 25 years older. Through the raunch, and crude jokes, and slapstick set-pieces, this film surprised me by being a slow-burn meditation on grief. I won’t say too much more about the film because – and I can’t believe I’m saying this about a Bridget Jones film – this film really does need to be experienced fresh.  

This is a welcome supplement and corrective to the Valentine season: an exploration of love that is lost or stolen away, and is sorely missed. It is a life-affirming bit of cinema, that takes you through the stages of grief (there is even a scene where her friends debate just how many stages there are) and the various methods we have for dealing with them. It even includes a clumsy little science/faith debate, and yet manages to conclude by encompassing all views. 

The film has a truly pastoral message. Grief cannot be avoided. Grief is a sign that love was real, and also that love cannot be snuffed out…even by death. Bridget intermittently has visions of Mark, and by the end of the film she has managed to make peace with those visions. They won’t leave her – her love for Mark won’t leave her – even as she experiences new love. Bridget ends the film recognising that her grief won’t leave her…and she can still live the fullest and happiest life possible. 

Go see it. It’s good to have a cry sometimes. 

4.5 stars 

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Article
Community
Culture
Nationalism
Politics
5 min read

Nationality can never unite a nation

For countless people, it’s a complicated thing.

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A montage of two conversation participants side-by-side.
Fraser Nelson and Konstantin Kisin.
Triggernometry.

What does it mean to be English? A debate has broken out on this thorny question, sparked by a conversation between Konstantin Kisin and Fraser Nelson, where Kisin, a British-Russian social commentator suggested Rishi Sunak, as a ‘brown Hindu’, was British but not English, and Nelson (a Scot) said that it was simple – if you’re born and bred in England, you’re English. End of story.  

The video on YouTube got 4 million views. Since then, Suella Braverman has weighed in with her instinct that despite being born and raised in England, she will never be truly English. The debate has generated more heat them light over these past weeks – just read the comments after Nelson-Kisin YouTube video to get the gist.  

Now this is something I've thought about all my life, as it's been a bit of an issue for me.  

I was born in England, have lived most of my life in England, my dad was English, I speak with an English accent, and love it when England beat the Aussies at cricket.  

However, my mum was Irish. She was born and grew up in Limerick, met my dad in Dublin after he had moved to Ireland to train to be a Baptist minister. I never knew my father's family, as his parents had both died before I was born. So, the only family I knew in my childhood were Irish. Family summer holidays were spent in Dublin or most often in County Clare in the wild west of Ireland. Growing up, I felt at home in Bristol where we lived, with my English friends, supporting the mighty Bristol City at Ashton Gate. Yet the place where I felt most secure and rooted, at home in a different way, surrounded by grandparents, aunts, uncles, cousins and people who had known my family for generations, was Ireland.  

While my dad liked football, and we cheered when England won the World Cup in 1966, my mum was a big rugby supporter. So when it came to the Six Nations (or Five Nations as it was in those days) there was no question of who we followed, driving to Cardiff Arms Park or Twickenham, festooned in green scarves, cheering on the boys in green. I still do support Ireland, rooting for Peter O’Mahony and Caelan Doris as well as players in the team less Irish (at least by descent) than me, like New Zealanders James Lowe and Jamison Gibson-Park, the Australian Finlay Bealham, or the very un-Irish sounding, yet hero of the nation, Bundee Aki.  

Of course, my story is far from unique. The Irish diaspora is everywhere. Irish people for centuries have left Ireland to find jobs, to see the world, or like my mum, following a spouse to different shores. There are loads of us, part-Irish, living in England, caught in our nationality somewhere in the middle of the Irish sea. 

So am I English? Or am I Irish? I have held both passports, long before Brexit. I can sing God Save the Queen and Amhrán na bhFiann. The truth is that I'm a bit of both. Sometimes my Englishness comes to the fore, sometimes my Irishness. I remember being at school in the 1970s during the IRA bombing campaign and getting abuse and graffiti on my school locker for being Irish, then spending holidays in Ireland and being teased for sounding English. Such is the fate of the half-breed.  

So for me, and for countless other people who have a mixed heritage, nationality is a complicated thing.  

When nationality becomes the primary location of a person's reason for being, that's when it can become dangerous. 

There are many different factors involved in a person's national allegiance: where they were born, where they grew up, where their parents or ancestors came from, where they decide to settle later in life. It can also be affected by emotions as varied as gratitude for a welcome received or resentment for rejection. Centuries ago, when people didn't travel much, and most didn't travel far from the place where they and their parents were born, the nation states that emerged in Europe and across the world out of the great empires of earlier times were relatively stable entities and could claim a degree of settled character, and a claim to loyalty. The twentieth century, with two world wars fought largely over nationality and race showed us the dark side of absolute loyalty to country or ethnic origins. 

In today's hyper-mobile world, and especially in the UK, which is a magnet for people all over the world, there are probably very few people with simple, pure national heritage. Most of us have some migrant blood in our veins, stemming from some ancestors who moved from their home at some point in the past, seeking a better, or a different life elsewhere.  

Being nationalistic or patriotic by supporting a sports team, learning a language, or being proud of one's origins is a good thing. Life would be a lot poorer without the possibility of rooting for your national team, taking pride in your national culture or history, feeling rooted in a particular place on this good earth. We were made to put down roots in a place, to care for it and take pride in it.  

Yet nationality is too fluid and imprecise a concept to provide a firm sense of identity. When it becomes the primary location of a person's reason for being, that's when it can become dangerous. That's when we begin to fight wars over national sovereignty, identity and superiority.  

Nationality can never become a strong enough centre to unite a people. It’s why the debate on ‘British values’ never quite lands. Even if we could decide what they are, is the implication that they are better than other values? And if they are does that give us the right to feel superior to other nations who don’t share them? And even if we could identify them, I imagine the French, the Germans or the Swedes would probably recognise a lot of them and claim them as their own.  

To have a firm sense of identity, a centre around which to gather, requires a stronger and more unshakable foundation. I may be part English, part Irish, but I am wholly a child of God. Even more deeply rooted than my Irish mother and English father, the place of my birth or my family roots, lies my identity as someone whose true origin comes not from them but from the God who made me, continues to love me, and will hold me until my dying day and beyond. And unlike national identity, this identity can be true of anyone, therefore it’s not something I can ever use as a badge of superiority over anyone else.  

That is who I am. Nothing can disturb or change it. And only something like that – something unshakable, independent of our changeable feelings and shifting allegiances can provide a firm basis for belonging and cohesion.  

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If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

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