Bridget Jones’s Diary

Renee Zellweger stars in 2001’s British romantic comedy Bridget Jones’s Diary. The film was based on Helen Fielding’s 1996 novel of the same name, which was partially based on Jane Austen’s Pride and Prejudice. Bridget Jones’s Diary faced a lot of controversy before it came out from those living in the backwoods, mainly over the fact that Zellweger would be playing a “quintessentially British heroine” because, as we all know, an American can’t play a Brit. Luckily for Zellweger and for us, she pulls it off with flying colours and the Brits went home happy that their country’s favourite new heroine wasn’t butchered by some American wannabe.

Zellweger, who was nominated for an Academy Award for her work in this film, plays Bridget Jones, a frustrated thirty-something British woman. She works at a book publishing company in London and fantasizes about her boss, Daniel Cleaver (Hugh Grant) frequently. One day, Jones begins a full-on flirting mission and starts wearing short skirts to work. This works like a charm and, before she knows it, she and her boss are in a sexual relationship. Meanwhile, Bridget’s mother (Gemma Jones) is trying to set her up with Mr. Right. Mr. Right, in terms of Bridget’s mom’s ideas anyway, turns out to be Mr. Darcy (Pride and Prejudice, anyone?), played here by Colin Firth (BBC’s Pride and Prejudice, anyone?). Of course, Mr. Darcy isn’t all that nice and he dislikes Bridget Jones when he first happens upon her, so that’s off for the moment.

Bridget continues to “see” her boss until, one fateful day, her boss’s dubious character comes to light and she realizes what a jerk he is. She breaks off the relationship and gets to know Mr. Darcy, whom she discovers is actually a very nice man and doesn’t dislike her at all. The relationship between the pair blossoms and, eventually, they begin to become interested in one another. Of course, as with all romantic comedies, more complications are needed and Daniel Cleaver makes a return appearance in Bridget’s life to add more complications. Throughout this time, Bridget has been noting her thoughts on these events in her diary.

The reason Bridget Jones’s Diary works is because of Zellweger. She brings Bridget Jones to life in a classic way, creating a genuine film heroine that women can believe in (I would imagine) without being patronizing or over-the-top. Jones finds herself in all sorts of silly situations that are very relatable, including one funny scene in which she is costumed at a costume party under the theme of “Tarts and Vicars” that is, sadly for Bridget, no longer a costume party. Zellweger’s wit and self-awareness are in overdrive here, as her performance was truly worth the Oscar nomination.

The film would certainly have been significantly diminished had Zellweger not worked out as Bridget Jones. Serving as the clumsy anchor to the film is not an easy task, but she pulls it off. Zellweger packed on about 20 pounds, which is enormous in “Hollywood weight” of course (ask Tyra Banks), and developed a little wannabe double-chin for the role. She even pulled out an accent that most major British publications found to be immensely workable. I’ve never read about anyone critiquing someone’s American or Canadian accent, eh? Nevertheless, with such a mountain to climb, it is impressive to note that Zellweger knocked the ball out of the park.

The supporters are also good, with Grant and Firth serving as combatants for Jones in such a classic film fashion that they almost duel for her affections. In an over-the-top fight sequence, they actually do. Grant is especially good here, as he’s always good as a cad. We’re supposed to dislike him and like him all at once, creating a sort of weird energy in which we may just cheer for the villain. Firth offsets him beautifully, too, creating a sort of off-putting balance that leads to many comic moments between the characters, such as the reindeer jumper worn by Firth’s character or the equally droll Christmas tie.

Bridget Jones’s Diary is a funny film about transition that strings together a number of comic moments and, generally, is increasingly charming as the film goes on. Lacking in cheese, pomp, and circumstance, Bridget Jones’s Diary is a humble entry in the romantic comedy genre that gathers most of its speed, energy, and skill from Zellweger and Grant. The chemistry between all of the characters is notable, as is the witty script from Richard Curtis, Andrew Davies, and Fielding. Bridget Jones’s Diary comes recommended for lovers of quick-witted, funny, and charming British romance.

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