Bridget Jones left me bawling… but I felt the better for it – Sophie Clarke

Throughout my teens and even now in my early twenties, Bridget Jones has always been somewhat of a role model.

Between her high-flying job in the media, her snazzy central London apartment and penchant for Chardonnay, cigarettes and power ballads, she was successful, funny but also flawed.

Therefore, it’ll come as no surprise that I consider Bridget Jones’s Diary, Bridget Jones: The Edge of Reason and Bridget Jones’s Baby both literary and cinematic masterpieces.

And I am relieved to report that the latest instalment, Bridget Jones: Mad About the Boy, is no exception – even if it has fewer of the hilarious, awkward, yet endearing antics synonymous with the previous books and films.

I found it to be a mature, heartfelt and moving film and by the time I left the cinema I felt I had been through the emotional wringer – I’m still not convinced I’ve fully recovered…

More: TikTok brain and my sadness at how classic children’s TV is a turn-off for today’s kids – Sophie Clarke

I think what struck me most is that not many films today have the ability to tug on the heartstrings quite like this.

Without giving too much away, Bridget is now a single parent to two young children and although she still gets herself entangled (mostly unintentionally) in comical situations, there is certainly much more to her.

She’s no longer concerned with documenting her weight or alcohol units and there’s no blue string soup or big knickers in sight – in the words of a now silver-haired Daniel Cleaver (Hugh Grant), she’s “effectively a nun”.

Full kudos to Helen Fielding and the scriptwriters for handling grief and loss in such a sensitive manner while still maintaining the charm and feel of the other movies.

It’s an absolute triumph and as Renée Zellweger, who plays the title character, says – the emotional weight of the story “sneaks up on you”.

It certainly does and, judging by the sniffs and furious dabbing of eyes amongst my fellow cinema-goers, I wasn’t the only struggling to hold it together.

More: From Derry Girls to Kneecap, our arts sector already punches above its weight. How good could it be if it was properly funded? – Sophie Clarke

This got me thinking about how films have evolved over recent years as the interests of audiences have changed.

The horror/thriller/action/sci-fi genres are still very popular but there doesn’t seem to be as much of an appetite for the old-fashioned ‘weepy’.

These tear-jerker movies can leave you literally sobbing into your popcorn and play on your mind for days or months afterwards. Two considered classics are Terms of Endearment (1983) and Beaches (1988), but for me it was The Fault in Our Stars (2014).

According to my mum, back in the days of video rentals, it was a ‘thing’ to rent a weepy on a Saturday night (usually with some friends) and sit with a glass of wine and box of tissues literally bawling your eyes out as it was a good release, particularly for women, to get some of those pent up emotions out.

I can certainly see the appeal of a weepy and wine-fuelled Saturday night and I must admit that, despite the tears in my eyes, as the credits rolled on Mad About the Boy, I did feel better for it.

More: Nicola Coughlan’s body shape in Bridgerton shouldn’t be a source of debate

As Charles Dickens once wrote in Great Expectations: “Heaven knows we need never be ashamed of our tears, for they are rain upon the blinding dust of earth, overlying our hard hearts. I was better after I had cried, than before – more sorry, more aware of my own ingratitude, more gentle.”

It’s hard to disagree with the great writer – sometimes it’s good to cry. It keeps us in touch with our humanity, and perhaps it just takes a lovely film like this to help trigger those emotions.

Throughout my teens and even now in my early twenties, Bridget Jones has always been somewhat of a role model


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