Bridget Jones Returns: Helen Fielding Breaks Dating Stereotypes in 'Mad About the Boy'

Back in October 2013, as I strolled through the streets of London, I happened upon my usual watering hole. Little did I know that an intoxicated regular would suddenly confront me, exclaiming with dramatic flair, “You’ve done away with Colin Firth!” referring to the unfortunate fate of the beloved character in my latest Bridget Jones book, “Mad About the Boy.

Fielding clarifies to EbMaster over Zoom that she never meant to actually harm Colin, but instead, she had written the demise of Mark Darcy, the character played by Firth alongside Renée Zellweger in the “Bridget Jones” movie adaptations. At the time, there were two movies out. Mark Darcy’s fictional death occurred due to a landmine explosion in Sudan while he was negotiating the release of aid workers – a heroic and honorable end.

Following its release, “Mad About the Boy” – debuting 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 became clear when the trailer for “Mad About the Boy” was unveiled in November that Fielding may have underestimated the emotional bond her readers share with Darcy, or perhaps Colin.

Recounting the past, Fielding shared that when his book was published, it became the second most prominent story on BBC News, with the headline ‘Mark Darcy is dead!’. He had to previously check with Colin if someone was with him and ensure he was seated before breaking the news that he had killed the character. Needless to say, Colin replied, ‘You’ve killed the wrong one.’

Fielding acknowledges that fans of “Bridget Jones” may blur the lines between the actors and their characters, a habit she admits to herself. During our conversation, she confesses, “I often mix up their names.” The same confusion applies to Colin Firth’s character Mark Darcy and Hugh Grant’s Daniel Cleaver, who reprise their roles in the fourth and presumed last “Bridget Jones” movie, even though Firth appears as a ghost. These veterans are joined by new faces, Leo Woodall (portraying Bridget’s younger love interest) and Chiwetel Ejiofor (as a stern yet compassionate teacher), who help Bridget rediscover the joy of love in her life once more.

Bridget Jones” holds a deeply personal connection for Helen Fielding, as she initially developed the series from a column in The Independent during the ’90s. To conceal her own identity, Fielding crafted the Bridget persona; however, she openly admits that many of the stories are drawn from her own experiences and those of her friends. “The irony,” Fielding notes, “was that by not writing the original column under my real name, I was trying to maintain privacy, but in reality, I ended up over-exaggerating the character, making it essentially me.

Similar to how Fielding collaborated on previous “Bridget Jones” movies, she also co-wrote and served as executive producer for “Mad About the Boy”. However, the storyline holds personal significance as it deals with the loss of her former partner, TV writer Kevin Curran, who passed away in 2016. As a result, Fielding aimed to authentically portray the intricate feelings that arise from such a situation, while also infusing the script with plenty of humor.

As a movie enthusiast, I can attest that collaborating on a script, especially one as personal as this one about the children and loss, can be quite an emotional journey. Yet, there’s something uniquely tender about it. What makes Bridget’s character so moving is her ability to maintain her zest for life, optimism, and kindness amidst challenging circumstances – raising young children after their father’s passing. It’s a delicate balancing act that requires a sensitive touch.

Fielding provides additional insights to EbMaster about transforming “Mad About the Boy” for the screen, discussing potential castings of Woodall and Ejiofor, re-recruiting Grant, tackling the controversial theme of older women dating younger men, and whether or not this is 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, this story wasn’t intended to be like “Bridget,” but as I wrote, it evolved into one. While penning it, I visualized a three-act structure and how it would unfold. I’ve been working diligently for quite some time to bring it to fruition, and during the pandemic, I spent a significant amount of time crafting various screenplay drafts and discussing ideas with numerous friends. By the end of this process, the script was well-developed. It’s particularly heartwarming to have the original cast still involved. I had many conversations with Renée about the character, and Hugh saw an early version of it.

I’m genuinely thrilled to see there’s another installment in this series. Unlike typical franchises with superheroes, explosions, or magic, it focuses on the characters, their perspectives, and the unique tone and humor. Writing this story is proving to be more intricate than before. As for filmmaking, I’ve been there before, and you know that handing over your creation to a team is part of the process. It’s a collaboration, almost like raising a teenager – everyone has their roles, and I step in only when necessary to keep things 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 keen to delve into the world that surrounds me, specifically examining how life continues for women as they grow older, and what I’ve observed is that they undergo relatively few changes. They remain lively, continue dating, having relationships, making mistakes, laughing, finding happiness, and maintaining friendships. A topic closely related to this, as I can attest personally due to my own experiences with the loss of young children, is grief. It’s almost like wading through muddy puddles; you sink into darkness, then emerge, only to plunge back in again before rising once more. The film and book seemed like a chance to portray humor as an insightful and comforting method for coping with grief. Bridget’s ability to maintain her chaos – such as setting the spaghetti on fire or buying condoms in a store where her schoolteacher is present – amidst real pain, emotion, and turmoil with her children is challenging to depict yet valuable to share.

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?

Viewing the instant when Roxster lays eyes on Bridget offers a profound insight into why he’s smitten with her. In the novel, their bond was deeply mutual, a meeting of souls kindred in spirit. Both characters possess an innocent charm and zest for life, combined with an infectious joy and raw attraction. There’s no ulterior motive or bargain; it’s purely organic. Thus, when Roxster witnesses Bridget trapped in a tree, it becomes clear why he might find this situation rather peculiar. Initially, I had planned to include more dialogue between Roxster and Bridget, filled with humor and intricate character development, but ultimately had to streamline these elements for the movie adaptation.

What drew you to Leo?

Initially, I noticed him in the series “The White Lotus,” portraying a despicable character. Despite his unsavory role, I was immediately impressed by his acting skills and thought, “What an intelligent actor he is.” Furthermore, it’s evident that he has an affection for women, as his eyes sparkle with interest. In the movie “One Day,” he truly shone, displaying an impressive range of emotions. The character I wrote, Roxster, shares a similar playful demeanor and humility, qualities that Leo himself possesses. There’s a sense of innocence shared between 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 notable: Fiction often lags behind actuality. The world I observe is filled with mutual relationships between older women and younger men, a trend that is not always accurately portrayed in films. In many of these productions, the age gap is emphasized and problematized, yet there exists a genuine attraction, appreciation, and admiration on both sides. It’s refreshing to see these movies highlighting this mutual respect, which isn’t as common in films featuring an older man and a woman three decades his junior.

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

Chiwetel embodies an appealing blend of warmth and depth, reminiscent of Jane Austen’s characters Darcy and Elizabeth. He’s like a closed-off man who requires a woman to bring him out, while they both undergo personal transformations and grow closer as a result. In the novel, Walker was a former SAS member, shrouded in mystery, and their interactions were characterized by mutual learning, which continues in this adaptation. This dynamic forms part of the romantic framework, as with Darcy and Elizabeth, there’s an instant connection between them from the start.

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 quite some time ago, possibly even before it was officially assigned to me, and he appreciated it. Hugh is both hilarious and incredibly devoted to my work, making our collaborative process a sheer pleasure as we brainstorm new dialogue and jokes together. I’d largely attribute the success of those lines to him. However, Hugh is not only funny but also intelligent and talented in his writing, much like Renée. This allows me to trust their creativity without feeling overly protective about the script. After all, they both know what they’re capable of, don’t they?

What was a line that Hugh improvised?

In a humorous yet somewhat inappropriate manner, he bids goodnight to Bridget following their babysitting stint, and then asks, “Should I hand you twenty pounds and attempt something more than that?” Despite its problematic nature, it does provoke laughter.

Additionally, I believe he showed quite a bit of emotional depth during our conversation. We discussed how Daniel might feel after years of competition with Colin/Darcy, and it’s clear that this topic would stir up many emotions for him due to their shared past at university. He skillfully portrayed these complex feelings while still maintaining his unique character, but there were moments when his protective exterior seemed to falter. The fact that he occasionally questions, “Who are the people in my life?” was particularly intriguing. Overall, he’s an exceptional actor who can convincingly emote a wide range of feelings.

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 my greatest sources of pride lies the fact that the character I initially crafted under the assumption she’d remain unread – an anonymous column, had I known its audience would be so vast, I wouldn’t have had the courage to write her – has resonated enough with people to inspire a movie adaptation.

1. I’m incredibly proud that a large number of Gen Z viewers connect with my character, Bridget. My daughter’s friends find comfort in her, as they struggle with self-image issues exacerbated by social media. Yet, they feel guilty about their concerns because body positivity is important, but they can’t shake off these worries. It’s heartening to see them seeking advice from me and expressing their appreciation for Bridget. This sense of connection makes me incredibly proud.

2. To have a character like Bridget who remains relevant across generations, that’s a blessing I am deeply grateful for. I hope this film challenges us to reconsider the stereotypes associated with older women, as there is an alarming amount of negative portrayals on screen and in literature. Bridget is not some outdated stereotype; she’s far from being anyone’s old bat.

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 difficult to imagine Bridget in any other form until Renée played her, as she was the first time I truly saw the character. The portrayal of Bridget, who is not me, has no connection to me. However, once Renée mastered the accent (Hugh had some amusing comments about it initially), she transformed into Bridget for me. Now, she embodies a unique persona with distinct mannerisms, a particular way of walking and talking, and a certain turn of phrase. These elements, combined with what I write for Bridget, have become intertwined in my mind.

She’s delightful to be around, a pleasure to collaborate with, and truly proficient in her field – all attributes that describe her perfectly. In nearly every scene, you can find her, which is a testament to her dedication and commitment to the project. Despite the challenges, she maintained her grace and kindness, remembering everyone’s name. Moreover, she’s very unpretentious, much like her character Bridget. She dislikes pretentiousness and appreciates what truly matters, qualities that I believe Renée shares and likely contribute to her exceptional portrayal of this character.

“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 practical person, and over time, I’ve been managing this brand as if it were my own child. I grasp the evolving economic landscape of the film industry and the diverse markets, so I wholeheartedly appreciate Universal’s decision. They’re experienced in what they do. The Bridget Jones trilogy is still popular, with people continuing to stream them, suggesting that they’ll likely watch this new one at home as well. In my opinion, it’s an enjoyable movie for a cozy night 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 exclaiming, “Alright, this is the last one. I’ve had my fill.” Yet, I can be quite theatrical. To begin with, this book wasn’t intended to be a part of the “Bridget” series, so its direction has always been uncertain for me. There may be a musical adaptation in the future. At present, I’m working on a narrative that deviates significantly from the norms of a “Bridget” book, and I hope it remains unique and doesn’t evolve into another “Bridget” story. However, I can’t guarantee that.

What I can assure you is that this film isn’t tainted with cynicism. It’s not about rehashing an old concept for financial gain. Instead, it organically evolved, much like stories written by authors. Consequently, my involvement would be solely based on its genuine nature, not mere convenience or profit-making opportunities. It needs to hold deeper meaning.

This interview has been edited and condensed.

2025-02-12 15:19

Bridget Jones Returns: Helen Fielding Breaks Dating Stereotypes in ‘Mad About the Boy’