Bridget Jones Returns: Defying Stereotypes and Embracing Love Across Generations!

On the very night that Helen Fielding’s third “Bridget Jones” novel, “Mad About the Boy,” hit shelves in October 2013, as she strolled through London, she was confronted by a boisterous pub-goer under the influence. Exclaiming dramatically, they accused her, “You’ve done away with Colin Firth!

Fielding clarifies to EbMaster over Zoom that she never intended to actually harm Colin, but instead wrote the demise of Mark Darcy, a character portrayed by Firth alongside Renée Zellweger in the “Bridget Jones” movie adaptations. At the time, there were two films based on the novels. The fictional death of human rights lawyer Darcy occurred in Sudan due to a landmine while he was negotiating the release of aid workers, which could be seen as an honorable end.

The movie adaptation of “Mad About the Boy,” set to premiere on Peacock in the U.S. on Thursday and in U.K. cinemas on Friday, delves into Bridget’s challenges navigating dating again as a widow with two young children. However, it seems that Fielding may have underestimated the deep emotional bond her readers share with Darcy, or perhaps more accurately, with Colin, as was evident when the trailer was released in November.

When the book was published, it made headlines second only to Syria on BBC News: ‘Mark Darcy has died!’ Fielding recounts. Earlier, I had to check if Colin was alone and seated before informing him that I had ended his character. Naturally, he responded, ‘You’ve killed the wrong person.’

Fielding doesn’t criticize fans of “Bridget Jones” for considering the actors and their characters as exchangeable; in fact, she often finds herself confused about them herself. At one point during our conversation, she admits, “I get all their names mixed up. I’m not sure if I’m referring to Bridget or Renée.” This phenomenon is evident with Colin Firth/Mark Darcy and Hugh Grant/Daniel Cleaver, who reprise their roles in the fourth and supposedly last “Bridget Jones” movie. Although Firth appears as a ghost, both characters make a comeback. They are joined by newcomers Leo Woodall (playing a younger man Bridget is attracted to) and Chiwetel Ejiofor (as a stern yet compassionate teacher). These fresh faces help Bridget realize that love can be found again.

Bridget Jones” is deeply rooted in Fielding’s personal experiences, as she initially developed the character for a newspaper column in the 90s for The Independent. To maintain privacy, Fielding used a fictional character, but admitted that many of the stories were inspired by her own life and those of her friends. “The irony,” she notes, “was that I wasn’t writing the original column under my own name to keep private, but I ended up over-exaggerating the character, and in essence, it became me.

Similar to her work on previous “Bridget Jones” movies, Fielding collaborated with Dan Mazer and Abi Morgan in writing and producing “Mad About the Boy.” However, the storyline resonates deeply as it revolves around the loss of Fielding’s former partner, TV writer Kevin Curran, who passed away in 2016. Consequently, Fielding aimed to infuse the script with the intricate feelings arising from this tragedy, while also incorporating a good measure of humor.

When collaborating on a script that’s deeply personal, like this one about a mother dealing with the loss of her partner and raising children, it can be quite sensitive. What I find touching about Bridget’s character is her ability to maintain her zest for life, optimism, and kindness amidst challenging circumstances. Seeing her navigate through something as difficult as parenting without a father figure present is indeed a delicate portrayal.

In the text below, Fielding elaborates to EbMaster on adapting “Mad About the Boy” for the screen, discusses casting Woodall and Ejiofor, shares updates on bringing Grant back into the project, tackles the topic of breaking the stigma around older women dating younger men, and addresses whether this could indeed be the final “Bridget Jones” installment.

It’s been over a decade since the “Mad About the Boy” book came out in 2013. How did the film adaptation come to be?

Initially, my work didn’t set out as a sequel to the “Bridget” series; it just organically evolved into one. As I penned the story, I visualized its three-act structure and how it would unfold on the big screen. Over time, I’ve been diligently working towards bringing this vision to life. During the pandemic, I spent countless hours refining the screenplay, brainstorming with friends, and fine-tuning every detail. By the end of that period, the script was quite polished. It’s heartwarming to have the original cast still involved in the project. I had frequent discussions with Renée about her character, and Hugh was one of the first to read early drafts.

I’m really grateful that we’re getting a fourth installment of this series. Unlike typical franchises with superheroes, explosions, or magic, it’s all about the character development, atmosphere, and humor. Writing it has become more intricate than ever before. As for production, making a film is always like giving birth to something, and you know that eventually, you have to entrust your creation to others in a collaborative effort. It’s similar to raising a teenager – everyone needs to do their part, and as the director, I step in only when there’s something crucial to discuss to keep everything on course.

As you mentioned, this “Bridget Jones” installment is a little more serious than the others and confronts aging as well as the grief Bridget has after Darcy’s death. What was the message you wanted to get across?

I was eager to delve into the world around me, specifically understanding the lives of women as they grow older, and I found that they don’t undergo drastic changes. They remain lively, continue dating, having relationships, making mistakes, laughing, finding joy, and keeping the same friends. The aspect of grief, a topic I’m familiar with due to my personal experiences involving young children, is intriguing because it’s like wading through muddy puddles – you go through periods of darkness followed by moments of light. I believe that this movie and book were ideal platforms to demonstrate how humor serves as an intelligent and healing tool for dealing with grief. It was challenging yet rewarding to portray Bridget, a character who maintains her chaos – like setting spaghetti on fire or accidentally buying condoms in front of her schoolteacher – amidst genuine pain, emotions, and relationships with children.

Bridget has a couple of new love interests in “Mad About the Boy,” one of them being the much younger Roxster (played by Woodall). In the movie, he meets her stuck up a tree instead of on Twitter, as it’s written in the book. What was behind that change?

As a passionate cinephile, witnessing the instant when Roxster lays eyes on Bridget in the film holds a profound significance, revealing why he’s captivated by her. In the novel, their connection was mutual, a meeting of kindred souls. Both characters exude innocence, playfulness, and an unbridled zest for life, combined with raw desire. The relationship is devoid of any transaction or obligation. So, when Roxster finds Bridget trapped in a tree, it’s easy to understand why he might find the situation peculiar. In the movie adaptation, I originally crafted more dialogue between Roxster and Bridget, filled with humor and intricate depth that unfortunately had to be simplified for the screen.

What drew you to Leo?

Initially, I noticed him in “The White Lotus.” Regardless of his portrayal of an unsavory character, I was struck by how intelligent he seemed on screen. Plus, it’s clear he appreciates women, as hinted by the sparkle in his eyes. His performance in “One Day” was nothing short of remarkable; he showcased a wide range that left me in awe. The role I penned for Roxster mirrors Leo’s own playful demeanor and humility. There’s a certain child-like quality to both Bridget and Roxster, which is why their dynamic works so well.

Women dating younger men has become somewhat of a trend in cinema this year with “Babygirl,” “The Idea of You” and more. Why is it important to show this kind of relationship?

Significantly significant. It takes time for stories in fiction to reflect real-life events accurately. In my observation, there are numerous instances of relationships between older women and younger men that are mutually beneficial. Interestingly, while age differences are often a point of discussion or concern in movies, these relationships showcase an authentic attraction where both parties appreciate, value, and desire each other. It’s worth noting that the films you mentioned may differ, but I appreciate their depiction of mutuality, which is not always seen in stories involving older men with much younger women.

Bridget’s other beau is Mr. Wallaker, her kids’ stern but lovable teacher. What made Chiwetel Ejiofor stand out for the role?

Chiwetel possesses an enchanting blend of warmth and seriousness, reminiscent of Jane Austen’s characters Darcy and Elizabeth. They are initially reserved individuals who gradually open up to one another, transforming their perspectives and developing a connection in the process. In the book, Wallaker was a former member of the U.K.’s Special Air Service and shrouded in mystery. As in the original, they continue to learn from each other in this adaptation. This learning dynamic is integral to the romantic plotline, as with Darcy and Elizabeth, there is immediate chemistry between them.

Hugh Grant is back as Daniel Cleaver, after skipping “Bridget Jones’ Baby” because he reportedly disliked the script. (The 2016 film was based on Fielding’s columns, not a “Bridget Jones” novel.) How did you get him on board this time?

I shared the script with Hugh well ahead of time, perhaps even before it was officially given out, and he appreciated it. He’s both hilarious and faithful to my writing style, making it a sheer pleasure to brainstorm new lines and jokes together. I’d mostly attribute our success to him. However, he’s not only funny but also intelligent and a skilled writer, just like Renee. Therefore, I don’t feel the need to be overly protective about the writing for these characters as they are capable and experienced enough.

What was a line that Hugh improvised?

In a somewhat humorous yet questionable manner, he bids goodnight to Bridget following their babysitting stint, then inquires, “Should I perhaps hand you twenty pounds now, and attempt something more… intimate?” This statement, while not exactly aligning with the #MeToo movement’s principles, does have a comedic undertone.

Moreover, I believe he exhibited strong emotions in this situation. During our conversation, we discussed how Daniel might feel after decades of rivalry with Colin/Darcy. Given their shared history from university, I suspect Daniel would have deep feelings about these children, and he likely does so without hiding it. Yet, he manages to maintain his characteristic self while revealing cracks in his emotional armor. It’s intriguing how he ponders, “Who are the people in my life?” – a thought that adds depth to his portrayal as an outstanding actor.

When you reflect on the past 24 years of “Bridget Jones” movies, what are you most proud of in bringing the franchise to the screen?

Among all my achievements, what gives me the greatest satisfaction is seeing that the character I initially wrote for an anonymous column, believing no one would ever read her, has become significant enough to be adapted into a film. If I had known so many people would read it, I might not have had the courage to write it in the first place.

I’m incredibly proud that my character, Bridget, resonates strongly with Gen Z. Just like my daughter’s peers find solace in her, as they grapple with societal pressures from social media and body image issues, while feeling guilty due to the body positivity movement for having such concerns. It warms my heart when they come to me seeking advice, expressing their appreciation for Bridget, and sharing how she comforts them. This connection makes me incredibly proud.
Additionally, I’m deeply grateful that Bridget transcends her time period, a testament to her enduring appeal. I sincerely hope this film serves as a catalyst for reevaluating the stereotyping of older women on screen and in literature, as there is an abundance of harmful stereotypes that need to be addressed. Bridget is not just any old woman; she’s far more than that, and I’m truly grateful for this recognition.

Going back to the beginning, there was some initial backlash to Renée as Bridget because she’s American. Looking back, why do you feel Renée has been so perfect for this part? Do you think it could have been any other way?

I found it challenging to imagine Bridget as a character before Renée took on the role, but once she mastered the accent and developed Bridget’s unique persona – including her mannerisms, walk, voice, and way of speaking – I could no longer separate the two. Now, when I write for Bridget, it feels like an amalgamation of what I’ve created and what Renée brings to the character.

In every aspect, she’s a delight to be around and a joy to work with; she’s truly a seasoned professional. She’s present in almost every scene, which is a testament to her dedication, both on-screen and off-screen, maintaining continuity flawlessly. Not once did she lose her charm or politeness, and she even remembered everyone’s name. Furthermore, she’s very down-to-earth, just like the character Bridget, which resonates well with Renée. She doesn’t have any airs about her, shunning pretentiousness, preferring to focus on what truly matters. It’s likely that this shared quality is why Renée has portrayed the character of Bridget so authentically.

“Mad About the Boy” is being released theatrically in the U.K., but going on Peacock in the U.S. What do you think of that decision?

To put it simply, I’m a pragmatist who’s been managing this brand for quite some time now. I understand the shifting economics of the film industry and the diverse markets, so I wholeheartedly support Universal’s decision. They’ve shown they know their stuff. Given that all three “Bridget” movies are still being streamed, people will likely watch this one at home as well. I believe it’s an enjoyable movie to relax and watch on the couch.

Is this truly the final chapter of “Bridget Jones”? Would you write another book or do another movie?

I often find myself expressing, “Alright, that’s it. I’ve had my fill.” Dramatic, yes, but it’s just my way. Initially, this novel wasn’t intended to be a “Bridget” story, so the plot twists are always surprising. There might even be a musical adaptation down the line. Presently, I’m penning a work that veers far from the typical “Bridget” narrative, hoping it stays unique and doesn’t morph into another “Bridget” tale. Yet, uncertainty lingers.

What I can confidently say is that this film isn’t tainted by cynicism. It’s not a remake driven by financial gain. Instead, it has organically evolved, much like the stories penned by novelists. Therefore, my involvement in it would be genuine and not for mere convenience. It needs to carry significant meaning.

This interview has been edited and condensed.

2025-02-12 17:50