No “must-watch rom-coms” list is complete without the undeniably iconic “Bridget Jones’ Diary.” Its celebrated status spawned two follow-up films, released in 2004 and 2016, which, while enjoyable, were lackluster compared to the original. However, with “Bridget Jones: Mad About the Boy,” Bridget’s story changes course, delving into themes of grief and loss and how happiness can persist even in life’s darkest moments, giving Bridget the truly heartwarming end she deserves.
“Bridget Jones: Mad About the Boy” focuses on Bridget Jones’ (Renée Zellweger) life after the passing of her husband, Mark Darcy (Colin Firth). Realizing that she can no longer let grief burden her, Bridget attempts to take control of her life again –– returning to her job, becoming more involved in her children’s school lives and, of course, getting back into the world of dating and romance.
Every single movie in the “Bridget Jones” franchise touts two romantic leads, the most notable being the original’s Mark Darcy and Daniel Cleaver (Hugh Grant). Bridget’s romantic leads in this final installment are Roxster (Leo Woodall), a young man nearly 20 years her junior, and Mr. Scott Wallaker (Chiwetel Ejiofor), her son’s uptight science teacher.
Personally, I usually dislike the format of two romantic leads, which often forms a weird pseudo-love triangle dynamic. In “Bridget Jones’ Diary,” I felt the strong chemistry between each pairing justified the love triangle. However, “Bridget Jones: Mad About the Boy” fails heavily in establishing one side of its love triangle, the lacking side being Roxster.
Roxster, as a character, is an empty shell — charming only due to Woodall’s personal disarming charm. He only seems to exist as the hot young man who proves Bridget has not lost her game. Zellweger and Woodall do not have the chemistry necessary to carry the lackluster dynamic or poor dialogue. Still, it’s the lack of development in their relationship that makes it practically forgettable. Affirming this unmemorable-ness is the fact that Roxster completely disappears from the story as soon as he and Bridget break up.
In comparison, the relationship between Bridget and Mr. Wallaker has a much livelier dynamic. Although adding more scenes between the pair would have helped flesh out their romantic connection, Mr. Wallaker is a consistent presence throughout the narrative, allowing the character to receive the development Roxster did not.
In one of the movie’s stronger moments, Mr. Wallaker’s uptight nature is softened by a quiet kindness as he confides in Bridget during a school field trip, revealing his fear and worries about his career and lack of family. Ejiofor brings an effortless charm to this moment and many others throughout the movie, rounding out Mr. Wallaker’s character as a charming and earnest man. This culminates in a romantic confession to Bridget at the end of the film –– comparing her to an unstoppable force, as described in Newton’s third law, a force that instinctively surrounds him completely and makes him whole.
Beyond romance, the strongest part of this movie is its exploration of Bridget’s grief as her loss echoes throughout the narrative. This haunting is shown most effectively by the fleeting appearances of Firth’s Mark Darcy in fantasies where Bridget imagines him meeting their in-laws or wishing their children goodnight. Albeit a conventional approach, this tactic of showing lost characters is novel to the Bridget Jones franchise and places Bridget in an all too real situation. The plot point works to develop her character further as she deals with a loss so great at an older age.
Zellweger’s powerful performance is a significant aspect of why this unexpected foray into grief works so well. The subtle pain Zellweger infuses into Bridget’s demeanor manages to blend seamlessly into her usual ditzy charm. Here, grief infiltrates Bridget’s very being as she tries to figure out how to live after losing the love of her life. Zellweger reveals a new side of her as Bridget grieves and learns how to continue living, all while simultaneously bringing the well-loved character back to life.
“Bridget Jones: Mad About a Boy” is a great example of a franchise growing up with its viewers. While the film contains the same heart and spirit that brought the lovable Bridget Jones to life 24 years ago, the character, like the audience, has grown up. We are given a fresh insight into Bridget Jones’ life in this last chapter, with a greater dose of harsh reality but still a hopeful spirit in its signature romantic plot.
