Everyone -- okay, maybe not everyone, but a lot of people -- enjoy fairytales whether they're of the traditional children's variety or the more modern and modified adult versions. Thus, the existence of the romantic comedy genre, and the 2001 release of "Bridget Jones's Diary" certainly qualified to be in that category.
And that's not only due to its story containing all of the standard prerequisites -- including the happily ever after conclusion -- but also because the film overcame a number of obstacles -- such as a first-time director tackling an incredibly popular novel as well as the casting of a Texan in the decidedly British lead role -- to have its own happy ending in the form of critical and viewer acclaim.
Of course, one of the reasons it worked was because it was a self-contained movie with a beginning, middle and end that didn't need any additional material, particularly of the follow-up kind. However, since novelist Helen Fielding wrote such a work and those behind the first film succumbed to the lure of greed, we now have the highly anticipated, completely unnecessary and rather disappointing sequel, "Bridget Jones: The Edge of Reason."
I haven't read the second novel and thus can't compare the results here to that source material, but associates who have said that there are a number of significant differences. That doesn't really make a difference since a film should stand on its own, but perhaps the changes explain some of this offering's problems.
Starting a number of weeks from where the first film left off, screenwriters Fielding, Andrew Davies (the first film, "The Tailor of Panama"), Richard Curtis ("Love Actually," "Notting Hill") and Adam Brooks ("Wimbledon," "Practical Magic") and new director Bebe Kidron (To Wong Foo, Thanks for Everything! Julie Newmar," "Swept from the Sea") have reassembled all of the major players as well as most of the minor ones. They also recycle most of the storytelling elements, voice-over narration, self-observations, embarrassing moments for the heroine and two love interests who once again end up figuratively and literally battling over her.
Yet, when most all of that worked rather well the first time around in a quirky but relatively unforced manner, here is feels far more artificial and clearly isn't as successful. That includes a bit -- that I'm shocked to hear first appeared in the follow-up novel - where Bridget ends up in a Thai prison for unknowingly smuggling drugs. While it's all played in a very light fashion, the unlikely scene feels completely out of place and character from how the first film operated.
Beyond the fact that they agreed to appear in the sequel, little of the blame can be leveled against the returning performers. Renée Zellweger ("Cold Mountain," "Down with Love"), who regained the infamous weight she lost after gaining it to appear in the first film, is quite comfortable slipping back into this role, even when having to endure all sorts of embarrassing moments. The part is hers and hers alone, but it's just too bad that her material isn't better.
The same holds true for Colin Firth ("Love Actually," "What a Girl Wants") who reprises his stuffy, upper-crust barrister character just the way he left it last time. It's Hugh Grant ("Love Actually," "Two Weeks Notice"), though, who once again steals the show as the randy cad who's after Bridget yet another time.
While the actor can obviously do that sort of character without breaking a sweat, he's consistently charming in the part. James Callis, Sally Phillips and Shirley Henderson reappear as Bridget's confidants and instillers of doubt (but seem to have much smaller roles this time around), while Jim Broadbent ("Vanity Fair," "Nicholas Nickleby") is reduced to just a bit player as Bridget's depressed pop. At least the first time around his character had a symbolic purpose - here he feels like the hang-on relative you don't want to see, but can't turn away.
Like a joke that was funny the first time but less so the second as told by a less savvy comedian, this sequel looks and feels a lot like the original. Yet, it's more sloppily told and simply isn't as funny, charming or entertaining as its predecessor. Diehard fans may enjoy it, but others may want to wait to catch "Bridget Jones: The Edge of Reason" on DVD or TV. The film rates as a 4 out of 10.
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