I am and always will be a child at heart. The sheer joy and warmth I get from the first Paddington (2014) is something that few films can give me and it is something I can’t overstate to others. I was cynical and doubtful that a film like that could be as wonderful as it appeared to be, but it certainly was. Whilst I’ll probably revisit that film in a review later on and spread the word of its marvels, I am glad to say in this review that Paddington 2 joins the likes of The Dark Knight (2008) and The Godfather Part II (1974) as sequels that are equal to and arguably surpass the great originals.
The two adjectives I’d ascribe to both films is ‘warmth’ and ‘charm’ (I should repeat ‘charm’ five more times to make sure the the point comes across) Paddington 2 is a refreshingly simple film: Now permanently living with the human Brown-family in the middle of London, Paddington Bear sets out to find the perfect birthday gift for his Aunt Lucy who raised him and cared for him when he was a lone cub in the wilderness of Darkest Peru. Complications arise when he finds the perfect gift in a pop-up book that happens to be crucial to the plans of the films mischievous bad-guy played superbly by Hugh Grant.
Despite the nostalgia of growing up in the golden age of Pixar, I can safely say childrens films have always been hit and miss. For every Madeline (1998), Finding Nemo (2003) and Chicken Run (2000), there was a Troll in Central Park (1994), Cats & Dogs (2001) or that unspeakable atrocity The Emoji Movie (2017). Childrens films are usually dumb cookie cutter premises that have more fart jokes and violent slapstick than genuine character moments. And even amongst the best of them, there is usually a darkness: The death of Mufasa, Buzz failing to fly and Dumbos mum being imprisoned are all powerful, emotional pieces of cinema that are iconic in animation and elevate the material of these “childrens films”. But the prevalence of these moments [as can be found in the also-great Coco (2017)], means that it is much rarer to find a film with genuine warmth, sweetness and innocence .
Paul King and company have struck a perfect balance and made Paddington 2 all this and more in one of the truly best feel-good movies ever made. Ben Whishaws voice as Paddington is like a soft, warm blanket you want to wrap over your body and the animation department should be commended for making the character not only realistic in water, light and wind but for perfectly matching the expressions with his voice to create such an endearing character. The innocence of Paddington Bear permeates throughout the film. The world itself is an idealised London that is nostalgic, welcoming and straight out of a picture book whilst still being believable. The neighbours are wonderful from Jessica Hynes to Sanjeev Bhaska to Jim Broadbent. The Brown family so integral to the first movie are back and all have moments assisting Paddington throughout his struggle. Sally Hawkins and Hugh Bonneville are wonderful as the Brown parents (I love a good Boney M throwback). It’s also a joy to see the likes of Richard Ayoade, Tom Conti and Peter Capaldi cameo every now and then like little treats next to a delicious cake.
I could go over the plot and cinematography if I really wanted to, but the truth is (whilst excellently done) it’s nowhere near as important as the tone given and felt. There is never a malicious or misplaced joke throughout the film. It never wavers in its tone and never tries to spoon-feed a message to children, nor does it lack substance for adults. It was something my mum, my eighteen year old brother and I could all sit down and enjoy. The production and costume design would make Wes Anderson proud, with the set-piece of a London Prison being an encapsulation of the very films essence. Through his niceness, Paddington breaks down the cold and empty atmosphere of prison and transforms it into a colourful, encouraging place for joy and happiness. Brendan Gleeson’s Nuckles McGinty is a great inclusion in this part of the story that is a great ying to Paddingtons yang. Sure, this film might not do anything to solve the judicial and incarceration systems of the Western world, but Paddingtons kindness and ability to see the good in people are his key characteristics that get him into trouble, but more importantly they get him out. I can’t think of a more important universal message a film can spread than to try and find the goodness in everyone.
Messages and themes aside, they’d be nothing without the sense of humour that accentuates the entire film. What I realised halfway through this film was that this is unashamedly and admirably the contemporary Keaton, Lloyd and Chaplin. King constructs both set pieces and small moments alike that are gracefully animated and impeccably timed. These films are worthy to carry the torch of the silent comedy masters and there is a touching reference to Chaplins Modern Times (1936) that shows Kings influence and reverence for the art. Once again, this slapstick isn’t violent or malicious. All the humour in this film is as pure and innocent as the lead himself. Even Hugh Grants baddie is astonishingly likeable and charming. It is truly a treat to see a star not take himself too seriously. Playing faded actor Phoenix Buchanan, Grant has some of the biggest laughs in the film and the fun he is having in this role put a big smile on my face. His character is primarily where the adults will get their laughs (and an as-of-yet unawarded BAFTA nomination for Best Supporting Actor is nothing to sniff at).
There is so much joy in this film that it seems to be a disservice to intellectualise feelings. This feel-good fun-ride is a carnival of colour and care. It is pure-escapism that doesn’t try and make you forget what is happening in reality, but it tries to make you remember the importance of being kind. It never takes itself seriously, but never panders to the audience. Every actor is having fun occupying this world with an amazingly animated bear. If you want a film to put a smile on your face or if you ever want to show a child a film that won’t kill their brain cells, look no further than Paddington 2. It doesn’t just have innocence. It is innocence.
That’s as rare as finding a bear in a duffel coat and this film deserves to be protected and appreciated as such.
Directed by: Paul King Written by: Simon Farnaby and Paul King Rating: G Run Time: 103 minutes Country: England Language: English Seen: Event Cinemas, Burwood
Cinema: Thoughts On An Artfrom 