Paddington 2 (Paul King, 2017)
And inevitably — for reasons that need not detain us — I was looking back to all those long drives to holiday destinations and family in the north east, and the five tapes that passed the time: two Winnie the Pooh, two Paddingtons and a Beatrix Potter. The first two (four) were the loved ones, sharing Bernard Cribbins as a reader. And I’m pretty sure that the first theatre I saw, aside from panto, were adaptations. I’m not sure why I missed the first movie — feeling some trepidation — but I could see Ben Wishaw would be perfect for the voice.
As far as I can recall, with the exception of Paddington Abroad, the books were all short stories: Paddington would attempt to do something (sell Mr Curry a vacuum cleaner) and it would go wrong (Mr Curry had no mains electricity), but everything would turn out ok. There would be a visit to Mr Gruber and sticky buns and there’d be a hard stare. I think I have about ten books, Armada Lions, battered and fading orange.
But here we need a feature length narrative: Paddington saving up money to buy a rare pop up book of London for his Aunt Lucy’s hundredth birthday. Only someone else is after the book and will stop at nothing to get it.
In a prologue, we learn that Paddington’s Aunt Lucy was about to go on holiday to London when she found Paddington — revealing in the process that Paddington was adopted before the Browns took him on. I am shocked that Aunt Lucy is not a blood relative — is this canon? Mind you, it took me a long time to realise that Pike’s Uncle Arthur wasn’t a blood relative.
And so we are in Notting Hill, which presumably has come up in the world since the original stories, but here at least is infinitely more multiracial than the last time co-star Hugh Grant appeared in a film set there. There is a neighbourhood of lovable eccentrics, almost all charmed by Britain’s favourite illegal immigrant, and each played by the gentry of television comedy. Occasionally, this can be distracting. Mr Curry, who I’d always assumed to be Scottish, is played by Peter Capaldi, better known for Local Hero and the Oscar-winning Franz Kafka’s It’s a Wonderful Life. Gruber, meanwhile, is Jim Broadbent, slightly confusingly as Hugh Bonneville (Mr Brown, Paddington’s reluctant adopter) has played a younger version of Broadbent in Iris.
The build is slow, as Paddington begins cleaning windows, in a borrow from the books (surely) and from a Hoffnung monologue where it was a barrel of bricks. But as the birthday approaches, Paddington finds himself behind bars with a choky full of dodgy characters. Paddington weaves his magic, setting the scene for a geographically dodgy train chase.
I assume writer-director King is a Wallace and Gromit fan, as it borrows from Nick Parks’s heterotopia and his style of piling up sight gags. I think this is a film to rewatch on DVD, pause button to hand, to unpick the notices and headlines. It’s a long film, but it doesn’t feel long. Paddington is utterly convincing, although perhaps at times he’s not sufficiently in the landscape, and I could have done without quite so many fantasy sequences. The pop up book perhaps allows homage to the Ivor Wood animated series, that never quite sold me. Meanwhile, even though I’d avoid Hugh Grant movies like the plague, he steals this film gloriously and effortlessly.
And, spoilers, it’s pretty obviously worth watching the closing credits, for one more set piece.
Perhaps it’s an air of exhaustion, but this might be my film of the year, watched through teared up eyes, eucatastrophically or for those endless drives on the A1 or the M1 all those years ago.