Review
Culture
Film & TV
Hospitality
4 min read

The Paddington paradox

With a tip of his hat, he brings a trace of grace to every life he touches.

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

A cartoon bear, wearing a blue duffel coat and red hat, rests his arms on a rock against a mountainous background
Paddington ponders Peru.
StudioCanal.

It appears that Paddington, the nation’s favourite unaccompanied asylum-seeking bear, has finally been issued with a British Passport, 66 years after stowing away on a boat from South America and two years after eating marmalade sandwiches with Queen Elizabeth II on her Platinum Jubilee.  In the brand-new film Paddington in Peru, we discover what happens when he uses his passport to return to his country of birth to visit his old Aunt Lucy.  

Will Paddington be reunited with the kind-hearted bear who brought him up after he was orphaned in an earthquake? Where will this leave the Brown family, who have been fostering him for the best part of seven decades? Indeed, where will it leave the rest of us who have embraced Paddington as one of our own? Will Paddington even return to 32 Windsor Gardens, London? 

It is not only his address and passport that evidence Paddington’s Britishness. This bear, who has captured the hearts of children and adults alike, has become as quintessential a British icon as Harry Potter and James Bond. This despite his Latino heritage, his status as an unaccompanied asylum-seeking bear, as well as his vast array of cultural faux pas. His earnestness, modesty, curiosity and unfailingly polite manners more than compensate, it seems, for his frequent dramatic mishaps and his uncertain immigration status.  With a tip of his hat, he brings a trace of grace to every life he touches – from refuse collectors to antique collectors, from convicted criminals to window cleaners.  Everywhere he goes chaos is met by kindness, compassion and positive transformation. 

Paddington seems to typify the best of what Britain stands for. Everything about his story is a celebration of the power of British hospitality. His creator, Michael Bond CBE, was inspired by the incredible hospitality of the people of wartime Britain who gave sanctuary to evacuee children in the Blitz as well as the families that provided loving homes for Jewish children fleeing the Nazis via the Kinder Transport in 1939. He once told a reporter: 

“We took in some Jewish children who often sat in front of the fire every evening, quietly crying because they had no idea what had happened to their parents, and neither did we at the time. It’s the reason why Paddington arrived with the label around his neck”.   

Aunt Lucy in the first Paddington movie makes this connection most clearly. She reassures Paddington who is nervous about what awaits him at the end of his dangerous journey, saying:  

“Long ago, people in England sent their children by train with labels around their necks, so they could be taken care of by complete strangers in the countryside where it was safe. They will not have forgotten how to treat strangers.” 

Despite the xenophobia that frequently comes across in our media, there are many Great British people who haven’t forgotten how to treat strangers. 

I wish I was as confident as Aunt Lucy about our country’s memory. When I watch the news and hear the anti-immigration rhetoric from some of our politicians, I fear that too many people in Great Britain have forgotten how to treat strangers.  

The Bible recognises the enormous potential for amnesia on this issue.  In its first five books there are no less than 36 reminders to welcome the stranger: hospitality was always supposed to be a priority of personal and national identity. Later on in the Bible we are shown what this looks like by Jesus, who welcomed the sort of strangers nobody else had time for – the poor, the downcast, the marginalised, the vulnerable, the sick, the homeless, the forgotten, the unpopular and the ethnically suspect. Finally, towards the end of the Bible there is another reminder in the book of Hebrews:

“Don’t forget to welcome strangers.” 

Despite the xenophobia that frequently comes across in our media, there are many Great British people who haven’t forgotten how to treat strangers. Tens of thousands of families have made rooms available to Ukrainians fleeing war over the past three years. Churches and charities and communities and schools and workplaces seem to have a wonderful habit of embracing those who are different, or who need a helping hand.  

This is what I call the Paddington Paradox: despite all the talk of tightening our borders, and reducing immigration, despite a summer of racist riots and yet another spike in hate crime cases, despite growing pressures on limited housing supply, and cost-of-living-related struggles, we love to think of our country as a hospitable one. We celebrate the welcoming of strangers – from the Kinder Transport to the Homes For Ukraine scheme. One of our most beloved national treasures is an asylum-seeker, albeit also a fictional bear.  

This week is my foster son’s birthday and so I am taking him and some of his friends to the cinema to see Paddington in Peru. To my surprise nearly all his friends’ parents have asked to come too! We are all looking forward to seeing how Paddington and the Brown family fare as they make a perilous journey on a small boat into the Amazon rainforest, and are forced to rely, once again, on the kindness of strangers.

Review
Culture
Film & TV
Hospitality
Romance
4 min read

From wheatfield to vineyard, can an ancient love story survive a replanting?

Ruth & Boaz finds new soil in rural Tennessee but struggles to grow

Giles is a writer and creative who hosts the God in Film podcast.

A couple hold each others hands as they face each other.
Tyler Lepley and Serayah.

Ruth & Boaz is a contemporary version of the most memorable love story in the Bible. The film tells the story of Ruth, a young woman who escapes the Atlanta music scene to care for an elderly widowed woman. Not only does Ruth gain the mother she never had, she also finds the love of her life in the process. 

The story of Ruth and Boaz is a straight up love story, and it serves as a much-needed respite from the biblical levels of violence in the books that precede and follow it in the Bible. So a modern update of the Ruth and Boaz story serves as good material for a heartfelt, sincere romance.

As part of Atlanta pop duo 404, Ruth Moabley (Serayah) is a talented singer who, after the death of her boyfriend and his father, is desperate to escape her menacing manager.  Ruth makes the impulsive decision to join her late boyfriend's mother Naomi, (Phylicia Rashad) as they both leave Atlanta for a small town in Tennessee to start over from scratch. The only job she can find involves labouring at a local vineyard, leading her to owner Bo "Boaz" Azra, (Tyler Lepley) who falls for Ruth the moment he lays eyes on her. Ruth holds tight to her faith and slowly begins to accept love, but her past is soon to catch up with her.

One of the joys of adapting a Bible story is often the characterisation. Phylicia Rashad’s Naomi is a complex, contradictory figure whose manifestations of grief are not always that sympathetic, pushing away all but the most insistent of helpers like Ruth. As the titular character, we spend a lot of time with Serayah’s Ruth. Making her a singer helps to flesh out the character to an extent, but the scenes where her individuality gets to shine are notable by their infrequency.  

Tyler Lepley’s turn as Bo Azra is perfectly serviceable. He’s essentially an idealised, handsome and muscled 40-year-old. Bo has a wealth of backstory; we’re told he served two tours in Afghanistan, then worked on Wall Street, and finally returned to his family business of the Azra Vineyard & Winery. Despite this, none of it really shows up in his characterisation. He spends his time being a generous boss, and an all-round basic good guy. All of which is great in real-life but can be a little staid in fiction. There’s very little about him to intrigue us, although questions have to be asked about how, if he’s so dedicated to making his business succeed, he managed to find the time to work on a truly magnificent set of abs. 

In a departure from the original Bible story, Ruth begins as a casual worker on Boaz’s vineyard. This is a reasonable change, as the practice of leaving grain after the harvest for widows and orphans to collect just doesn’t fit in a modern context. But in a post #MeToo world, this does create a power imbalance. They attempt to address this power imbalance of employer and employee when Ruth refuses to let Boaz buy her a drink. However, Ruth’s resistance quickly recedes when Boaz introduces her to Rn’B legend, Babyface. In this world, if you want to date one of your employees, all you have to do is introduce her to a Grammy-winning super producer to break down her inhibitions.

All of these shortcomings suggest that the script needed a few more passes, and the saccharine voiceover feels like it’s trying to make up for that. Credibility at times takes a back seat to the gloss of the high production value as almost every other shot looks like it’s promoting a tourist destination. There are moments where it feels like the story is contorting itself in order to be a vehicle for Serayah’s singing talents; which, to be fair, are considerable. Nonetheless, a lot of the tension in the plot hinges on characters not telling each other incredibly important details because of convoluted reasons. It’s a trope that feels a little bit tired. On top of that, the pacing drags until it remembers it has to have a dramatic resolution, which it awkwardly rushes, making the ending feel somewhat unfulfilling.

Ultimately, Ruth & Boaz feels like a romance film made by committee, a Hallmark film with added Bible references and RnB cameos. One could argue that it shines a spotlight on African-American communities in rural America, but the brisk run-time prevents it from revealing anything new, and the light touch characterisation means we don’t really get anything original.

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