As a long-time cinema enthusiast and someone who grew up with Paddington as part of my childhood, I must say that the third installment, “Paddington in Peru,” left me with mixed feelings. On one hand, it was great to see our beloved bear back on the big screen, exploring his roots and embarking on a new adventure. The scenery was breathtaking, and the visual effects team did an excellent job bringing the Peruvian rainforest to life.
For over half a century, I, Paddington – the loveable bear known for my duffel coat, affinity for marmalade, and knack for finding trouble – have been a cherished part of our cultural landscape. The incredible success of Paul King’s “Paddington” and “Paddington 2” catapulted me to the esteemed position of a national treasure: a symbol of British resilience, kindness, and good manners, even earning me an invitation to share the screen with the late Queen Elizabeth II for her platinum jubilee celebration in 2022. While the films are delightful, humorous, and slightly peculiar, the branding has ventured into a patriotic cuteness that’s not as endearing anymore.
In this third installment, there’s not just a new backdrop but also some significant shifts behind the scenes. King has stepped down as director and handed over the reins to debutant feature film director Dougal Wilson, while the scriptwriting duties have been passed on to a new team of writers. Among them are Jon Foster and James Lamont, who were responsible for the skit involving royalty that was mentioned earlier. King and his collaborator Simon Farnaby still hold a story credit. The change is noticeable. King’s vibrant visual style and whimsical humor gave the first two films an eccentric, slightly disorganized allure that appealed to both adults and children. Wilson’s film, while colorful and bustling, leans more towards traditional children’s entertainment, featuring a fabricated quest narrative that takes the franchise even further away from the humble, cozy essence of Michael Bond’s original books.
The statement doesn’t imply that “Paddington in Peru” doesn’t function well: As any Paddington tale ought to be, this movie is brisk, lively, and unusually bright – a quality that those who missed the 2017 release of “Paddington 2” or aren’t old enough for cinema-going at that time will find appealing. They might not recall or express concern about the fact that the film’s kind messages about immigrant identity and the value of diverse families are repetitions from earlier films. However, these themes remain essential and worth repeating. And even though the humor isn’t as intricately woven, absurd, and laugh-out-loud funny as in King and Farnaby’s best work, Olivia Colman’s sinister yet endearing portrayal of a nun character provides some recompense.
As a devoted admirer, let me share my take on this tale:
The affluent Brown family, led by Henry (played by Hugh Bonneville) and Mary (Emily Mortimer), find little resistance in abandoning their daily lives to travel to Peru with him: Staid patriarch Henry is urged by his employers to exhibit a less cautious side, while his wife Mary seeks one grand family adventure before the onset of the empty-nest syndrome. She finds herself in quite an unexpected situation when, upon arrival, they learn that Aunt Lucy has vanished into the wilderness, triggering a search throughout the jungle that, through some narrative twists, also serves as a quest for a legendary city of gold. “Aren’t we all, in our own way, searching for El Dorado?” ponders Hunter (Antonio Banderas), the captain hired to guide them into the dense wilderness. The Browns express their reservations, but decide to follow along nonetheless.
This storyline offers plenty of opportunities for thrilling escapades and a touch of tropical danger – think tarantulas, anteaters, and rapids; it’s quite the adventure! The visual effects team will have their hands full beyond just perfecting the lifelike digital representation of Paddington. As for humor, it primarily remains at camp, with Colman providing laughter in abundance. Whether he’s spinning around with a guitar during the movie’s sole musical number or casually dismissing the suspicions of the Brown’s housekeeper (Julie Walters) as unfounded, his antics never fail to amuse.
In “Paddington in Peru,” she’s not given much freedom to fully let loose, unlike the earlier films. The storytelling, while entertaining, doesn’t quite reach the chaotic climax as seen before. Instead, it gradually builds up with a mix of traditional slapstick humor (like the predictable gag of someone getting hit in the groin) and old-fashioned adventure movie challenges. Finally, there’s a heartwarming ending involving Paddington and his love for marmalade, serving as a reminder that home is not just a place but also where one’s heart resides.
Wilson, known for grand, festive Christmas commercials for the U.K.’s John Lewis department store, skillfully manages everything with an effortless blend of speed, rhythm, and keen emotional manipulation. However, these productions lack some of the unique charm and distinct narrative style found in earlier works. The scripts, to a greater extent than before, seem to adhere closely to a familiar formula. Paddington, who once was quite peculiar, has gained widespread popularity, as is fitting. Yet, in the process of becoming more universally loved, he seems to have lost some of his quirks.
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2024-11-04 12:16