New Year’s resolutions are the cornerstone of both the 1996 novel Bridget Jones’s Diary by Helen Fielding and its screenplay adaptation of 2001. Bridget Jones (played by Renee Zellweger in the film) starts off her year with good intentions toward making significant life changes–and a diary to keep track of it all.
The bestselling book by Fielding was based on Jane Austen’s Pride and Prejudice, the author has acknowledged. Primed by the novel, many flocked to see the movie when it came out several years later.
Stephen Holden (New York Times) describes the film’s lead: “Bridget Jones, in case you didn’t know, is a 32-year-old bachelorette who works in a London publishing house and frets with sad amusement about her increasingly iffy prospects for finding a long-term relationship. Summoning up her shaky willpower, she decides to adopt the usual self-improvement regimen to make herself more desirable. She will lose 20 pounds, cut down on alcohol, cigarettes and sweets, and land the boat of her dreams. Her diary entries are prefaced with meticulous records of her progress (and lack thereof) in achieving her stringent numerical goals.”
One of Bridget’s best features? States Holden: “…(E)ven when downhearted, she maintains a rueful sense of humor.”
(Incidentally, when my screenplay Minding Therapy won the Hollywood Script award in 2009, they called it “hip and relevant, with a Bridget Jones’s Diary kind of flavor.”)
Below is the film’s trailer:
In the end, although Bridget feels compelled to admit that she hasn’t made the changes she’d wanted and that her diary is “foolish,” there is a significant measure of progress–albeit against her own inclinations–in one specific area. She’s managed to stumble into a decent relationship.
And it’s this special man, Mark Darcy (Colin Firth), who says the key words to Bridget that might make all those earnest resolutions seem not so important after all: “…I like you very much. Just as you are.”
How does the film feel today, over 20 years later? As would be expected, there’s some obvious datedness. One notable dynamic that Bridget encounters at work with her boss (Hugh Grant), for instance, would now be a #MeToo problem, Rebecca Nicholson (The Guardian) points out.
Other issues of note are the fat phobia that pervades as well as what we could call singlehood phobia. But even if we’re somewhat smarter about these issues decades later, don’t they remain relevant? Don’t women in today’s world still appreciate Bridget’s struggles?
Indeed, at the 20-year anniversary of the film, Jenny Singer, Glamour, concluded it’s “perfect, just the way it is.”