‘Bridget Jones: Mad About the Boy’ Director Says Previous Films Weren’t ‘Misogynistic,’ but Instead Shone a Comedic Light on ‘Pressures That Existed’ at the Time

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Perfectly coordinated for Valentine’s Day, the fourth installment of the legendary Bridget Jones series has just been unveiled. In the United States, it can be streamed on Peacock, while worldwide release, including the U.K., is being handled by Universal Pictures in cinemas.

In modern times, “Bridget Jones: Mad About the Boy,” derived from Helen Fielding’s third Bridget Jones book, brings back our beloved single diary-keeping character for a new chapter. This time around, Bridget is a widow with two young kids, tentatively navigating dating again. As suggested by the plot, this story leans more toward emotion than its predecessors, while maintaining the essential doses of romance and comedy.

For film director Michael Morris, “Mad About a Boy” is his second feature film, which he landed after an unexpected encounter with Fielding at a friend’s residence. Upon hearing her narrate the tale from the novel, Morris found himself pondering about the potential outcome if he combined elements of “Bridget Jones” and “Truly Madly Deeply.

While conversing with EbMaster, a British individual shares his decision to rely on instincts when choosing Leo Woodall prior to “One Day” and offers insights into why he believes the initial Bridget Jones films, although potentially seen as outdated today, were not meant to be misogynistic.

In your own words: Was your first major work “To Leslie,” which earned significant acclaim and catapulted Andrea Riseborough to an Oscar nomination. This film centered around a solitary woman grappling with various challenges, in stark contrast to the lighter, romantic-comedy tone of “Mad About the Boy.” Can you find any similarities between these two stories?

There’s an intriguing connection between these two movies that might seem puzzling at first glance, but upon closer observation, they share a common thread. Both feature complex female protagonists who undergo transformations. While one is a drama and the other isn’t, they both require their characters to adapt behaviors learned and lived in ways that make them uncomfortable in order to progress. What makes this project interesting is the attempt to blend comedy with grief – essentially, creating a comedy about loss. This is a challenging endeavor, as it requires maintaining the comedic elements while also providing space for emotional depth. The aim is to ensure viewers can enjoy themselves and laugh, all within Bridget’s universe, but also allowing room for them to connect with the film’s more poignant moments.

How did you end up directing this movie? Prior to “To Leslie”, you weren’t extensively known as a film director, but it was clear that you had quite a bit of experience in television production.

The encounter was surprisingly serendipitous. One evening, I found myself at a friend’s house, and to my surprise, Helen Fielding was present. Although we hadn’t met before, we began discussing her upcoming projects. She mentioned having an unfinished book where Mark Darcy had perished. Since I wasn’t familiar with the book, I shared the common reaction of many readers: “What? Mark Darcy is dead?” In a flash, my filmmaker instincts kicked in, envisioning a fusion between ‘Bridget Jones’ and ‘Truly Madly Deeply.’ This thought sparked an extended conversation. Fortunately, some television work I had done previously resonated with Helen, which led to our discussion. Thus, the idea originated from that serendipitous encounter.

Did you take part in selecting the actors for the project? It seems that you’ve reprised some popular choices, but now we’ve added Chiwetel Ejiofor and Leo Goodall to the cast as well.

It’s great to work with Working Title because they genuinely back their filmmakers. Even though it’s a significant franchise for them, we treated it as if we were in charge of casting: Who would be best for this project? The strength of Working Title or the franchise lies in giving directors the freedom to choose their cast. To my surprise, I managed to secure the actors I wanted. I had a meeting with Lucy Bevan (casting director), Eric Felner (producer), and the team, and asked if it was possible to get Chiwetel Ejiofor on board.

Chiwetel’s rejoining the Working Title rom-com universe!

Absolutely, he starred in “Love Actually.” Ever since then, he hasn’t taken on any other roles! Ha! Yet, to find an actor with such dramatic skills to play a romantic lead in a film like this… it truly motivates one to continue producing the movie, which, in its own unique way, deviates slightly from the previous Bridget films. And we cast Leo before “One Day” was even released. I became captivated by him in “The White Lotus.” He possesses such a dominating screen presence and commands every scene he’s in with such self-assurance. The character needed this confidence for the role, as I wanted viewers to fall for him instantly from the very beginning.

And now casting Leo feels like a really inspired choice

Trust your gut feelings, as they’re not unique to me alone. The fact that he was chosen for “One Day” suggests the same. Indeed, he has what it takes to shine brightly. Yes, I consider myself quite fortunate in this regard.

In the past, over two decades ago, the original Bridget character emerged, marking a significantly distinct era. When it was first announced that this movie would be made, there were whispers of dissatisfaction about Bridget seeming somewhat antiquated and potentially misogynistic, not fitting for today’s society. Did you take these concerns into account before embarking on this project?

I agree with the comments I’ve seen, but I have a slightly different perspective due to my personal experiences. In 2001, I watched that movie while living independently in London. It was a unique era. I believe modern films serve as reflections of the times they are created in. I wasn’t involved in the initial productions at all, but I don’t think the filmmakers intended to be misogynistic or promote harmful behaviors like fat shaming. Instead, they might have been highlighting the pressures that existed back then, albeit comically. Renée Zellweger, who portrayed Bridget Jones, always brings a warm and empathetic touch to her roles, and I believe she sees Bridget as a symbol of women who have faced various challenges in the past. In today’s world, it seems easier for us to move past some of those issues, especially since I’m not involved in making that film anymore. It wouldn’t feel appropriate for Bridget to document her weight struggles in her diary now because the pressures she faces are different. She deals with a variety of other pressures, such as the expectations women face on social media platforms like Instagram to be flawless, organized, and punctual. But these pressures are not the same as they were back then.

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2025-02-14 19:25