"It's only a diary," Renee Zellweger's Bridget Jones innocently whines about the red-covered volume she confides her secrets to, but who in the world does she expect to believe her?
Starting as a London newspaper column by Helen Fielding and morphing into a novel and a sequel that have together sold 5 million copies and counting in 32 countries, "Bridget Jones's Diary" and its candid and witty tales of a thirtysomething's romantic woes became such a phenomenon that the London Evening Standard grandly announced that its protagonist "is no mere fictional character, she is the Spirit of the Age."
So when it came to turning this bona fide cultural sensation into a film, a lot of significant players were part of the mix. Top British actors Hugh Grant and Colin Firth (both of whom are mentioned in the book) are Zellweger's male co-stars, and two of that country's cleverest screenwriters, "Four Weddings and a Funeral" and "Notting Hill's" Richard Curtis and "Pride and Prejudice" adapter Andrew Davies worked with Fielding on the script. Four heavyweight companies from three countries (Miramax, Universal, Studio Canal and Working Title) flash their logos on the screen before we even get a glimpse of an actor.
Instead of being suffocated under all this attention or suffering overly much from the liberties the film admittedly takes with her diary, Ms. Jones prospers. The dramatic feature debut for filmmaker Sharon Maguire (a documentary director and apparently the inspiration for Bridget's friend Shazzer), "Bridget Jones's Diary" is cheerful, cheeky entertainment, a clever confection that makes jokes about Salman Rushdie and literary critic F.R. Leavis and survives its excesses by smartly mixing knock-about farce with fairy-tale romance.
This film can become the most popular film in St.Petersburg this year.
News source: The LA Times
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Culture news archive for 10 August' 2001.
Culture news archive for August' 2001.
Culture news archive for 2001 year.