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Bridget Jones's Diary 2001
Description: A chaotic Bridget Jones meets a snobbish lawyer, and he later enters her globe of imperfections.
Released: 13 Apr 2001 Director: Sharon Maguire Writers: Helen Fielding (novel), Helen Fielding (screenplay), Andrew Davies (screenplay), Richard Curtis (screenplay) Actors: Renée Zellweger, Gemma Jones, Celia Imrie, James Faulkner Genres: Comedy, Drama, Romance
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Bridget Jones's Diary Reviews:

Being a long time fanatic of the BJD ebooks (three years and counting), I had nothing but high hopes for the film version. I was lucky enough to receive into a sneak preview last night, and I was not disappointed. The movie, like the book, has the most hilarious lines and moments, and every of the actors portrayed their characters so well you couldn't imagine anyone else in that part. Renee Zellweger IS Bridget, there is just no arguing it. No another actress should have pulled off what Renee did in this movie. Hugh Grant makes for an perfect Daniel, who is fully two faced and has a smarmy sort of charm that makes you wish him just as badly as Bridget does. Colin Firth is a magnificent Tag Darcy, but that was a given because the hero was practically written with him in mind - as all avid BJD readers know, Tag Darcy's hero is a enjoy on the Mr. Darcy Firth portrayed in Pride and Prejudice.Some of the more hardcore fanatics of the ebook may be disappointed with all the missing jokes and scenes, but to movie the whole ebook would have left us with a 10 hour movie. The writers did an perfect job distilling the essence of the novel, and the complete product has all the charm and wit of the original. The audience, many of whom I'm sure have never read the ebook (and many of whom, surprisingly, were male), laughed nonstop throughout the film, and everyone seemed to play it thoroughly. As for those of us who have read it, I do trust that this is one of those rare book-to-movie jobs that was really spot-on, and everything that was noticeably changed in the process only makes the film better. So go see it, it's hands-down one of the greatest films of 2001 so far.


(Note: Over 500 of my film reviews are actually accessible in my ebook "Cut to the Chaise Lounge or I Can't Trust I Swallowed the Remote!" Receive it at Amazon.)What really makes this film stand out from a venerable list of another working woman fantasies is the familiar but one-of-a-kind personality of the irrepressible Bridget Jones. Created by novelist Helen Fielding, who also wrote the script, and brought to life by the talented and zany Renée Zellweger, Bridget Jones is a 32-year-old pleasingly plump London working girl, a "...verbally incontinent spinster who...dresses like her mother" (to quote Colin Firth's character, Tag Darcy). She is also clumsy, the type of woman who might spill sauce on her blouse, a tiny overweight, smokes, drinks too much and sometimes tells what she thinks without consulting her brain. She is also very nice at improvising on the spot, a talent that charms not only the two leading men, Hugh Grant and Colin Firth, who vie for her affection, but also the five o'clock news audience who like her bum and knickers just fine.Director Sharon Maguire, in her first outing, combines Brit witticisms, slapstick pratfalls, raunchy, sharp and realistic dialogue, and a blatant but inoffensive sentimentality into a romantic comedy that surely has Nora Ephron and Julia Roberts paying close attention. She keeps us guessing about who will receive the woman (and who really deserves the girl) with the usual misdirections and misunderstandings characteristic of the genre. There's a tiny dead time about half method in, and the uncertainty about whether Bridget wants Hugh Grant or Colin Firth is milked a bit overmuch, otherwise this is nicely paced entertainment sure to chase away a blue afternoon.Hugh Grant and Colin Firth are both very good, and Gemma Jones as Bridget's mother is a charming, dotty sight to see. Bridget's mates are funny as a type of foil to the tired glamor of Yank TV's "Friends." And there's a darling "home movie" sequence during the closing credits purporting to recall Bridget at four and Tag Darcy at eight, that retrospectively and adorably frames the movie.Should a CHICK FLICK ALERT be declared here? No doubt, but thanks to a warm, bubbly, funny and decidedly unprudish and unaffected (and I gotta say, somewhat daring) performance by Zellweger, we'll ignore it because we "like her just the method she is."


Speaking as one familiar with "Pride and Prejudice"--the ebook and the 1995 miniseries upon which this work is loosely based--I like this spunky tiny film exceedingly well, just as it is. Do not be place off by superficial comparisons to "Four Weddings and a Funeral" and "Notting Hill," both shallow and pretentious films memorable only for one fine eulogy and some physically pretty protagonists. "Bridget Jones's Diary" is more.Bridget Jones is, as its soundtrack suggests, "Everywoman." Each girl who has ever fumbled for words, fallen on her face, been embarrassed by her mother, selected her underwear carefully, picked a cad for a boyfriend--whether she's a thirty-something singleton or a sixty-something grandma--can identify with Bridget on some level. You can't support pulling for her. Cheering her on is cheering yourself on.But this chick-flick is not hardcore; it has a broad sense of humor. Male viewers have been caught in the act--smirking. There is even a fistfight to warm insensitive martial hearts. A couple of popular folks create appearances here, too--one with a million-dollar price on his head--Salman Rushdie, who plays himself in a wryly irreverent tiny sequence.It's simple to miss the movie's charm on the first screening--some very nice lines are swallowed at the ends; the gratuitous profanity, casual sex, prodigious smoking and drinking are turn-offs; the heroine is an awkward, fleshy girl with reprehensible fashion taste, and one may easy posit that she ended up with an unsuitable and unlikely mate.But I contend, after a second viewing, that this film is a tiny gem. There is a unbelievable economy in the editing; each scene, each action tends toward only one possible conclusion, a PERFECT conclusion. And the childhood clips in the ending credits give credence to that conclusion and deliever help for it--which is that the character and heroine are made for every other.I rate it a solid 9 (with a 10 for the BBC/1995 "Pride and Prejudice").* * * * S P O I L E R S A H E A D * * * *At first glance, Miss Jones seems stupid and inept and the last girl in the globe one would pick for the clever and successful Mr. Darcy. But consider this: Darcy already had "a intelligent wife" before--bliss gotta needs be sought elsewhere. Besides, Bridget, though somewhat gauche, is not unintelligent, as evidenced by her voiceovers and some of her sallies. But most of all this: Every has something the another needs--he is steady and reliable, she possesses liveliness and warmth. Notice the wistful look on Darcy's face as he watches Bridget and Cleaver cavorting on the river. He WANTS some nonsense and indecorum in his life--needs them; she would be his savior. Imagine Darcy's life if he had settled on the competent but priggish Natasha--both parties would have stagnated. Imagine if Bridget had surrendered to the charms of a Daniel Cleaver--fun for the nonce, but misery for the long haul.No, this ending is excellent in each way, down to the last delicious epithet uttered by an aroused Darcy. And oh yes, the kiss--very promising indeed; at once tender and ardent, it leaves one with the distinct impression that Darcy will be something more than "helpful in the kitchen."



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