Displaying items by tag: Hugh Grant

BRIDGET JONES: MAD ABOUT THE BOY

UK, 2025, 124 minutes, Colour.

Renée Zellweger, Chiwital Ejiofer, Leo Woodall, Hugh Grant, Colin Firth, Mila Jankowicz, Casper Knopf, Sally Phillips, Nico Parker, Sarah Solemani, Shirley Henderson, James Callis, Claire Skinner, Isla Fisher, Gemma Jones, Emma Thompson, Jim Broadbent, Neil Pearson, Celia Imre.

Directed by Michael Morris.

Bridget Jones came on the cinema scene almost a quarter of a century ago two very successful films. She was immediately popular, embodied in a British style by American actress Renée Zellweger. In 2016, she had a baby and another film. In 2024-2025, she is a widow, with two children at school, trying to manage, sad memories of her husband, played by Colin Firth and reappearing here in some pleasing ghostly presences. (Not too happy memories of previous films with real appearances of her parents, Jim Broadbent and Gemma Jones, and a number of old friends turning up, Sally Phillips, Shirley Henderson…).

Bridget Jones has been welcomed back by audiences – though, for many of us, her distinctive mannerisms, quirks of accent, tics of behaviour, can be often offputting or, at least, disconcerting.

So, what is the widow to do? Get some advice from her old friend-nemesis, Daniel, a welcome return by Hugh Grant, still the playboy attitude but soon to be threatened by age, illness, more than a touch of conscience, and a reconciliation with his absent Italian son.

She goes to Memorial dinners for her husband, gets loads of advice from her contemporaries, to be out and around, date, be on the market. She also gets her advice from her gynaecologist, Emma Thompson again, which is more grounded but not heeded until later.

What happens is that on Hampstead Heath, her children climb a tree, she tries to rescue them, and a handsome worker (Foxster, Leo Woodall) intervenes, she more than a touch smitten, he getting in contact, a whirlwind affair. Is this the answer to her longings? But is going back to work as a television producer, on a show for women and women’s issues, another answer?

By this stage, her fans will be hoping that she resolves life’s issues. But, in those who find her a bit offputting, not eliciting audience sympathy, would be tempted to give up on her.

But,   lifechanges, her toyboy puts his foot in it about age; she is still thinking of her husband; her children react, especially her son who misses his father. And she listens more attentively to her doctor’s advice.

And, there in the background is the teacher at the children’s school, Mr Willaker (a charming Chiwitel Ejiofor, despite his propensity for discipline and continually blowing his whistle, loudly).

So, gradually, some sensible moralising, some more considered choices, some sensible interactions, and Bridget Jones will have a future.

1. Popularity Bridget Jones, Renée Zellweger’s presence and performance? Mannered style? Over almost 25 years and four films?
2. The London settings, home, school, television studios? House parties, large parties, the range of songs?
3. Bridget’s situation, widow, the death of her husband, charity work and his death, Colin Firth, his presence in memories throughout the film? The two children, their ages, her bond with the children, at school? Her going out to the Memorial dinner for her husband, her awkwardness? With the of the mothers, the Society mother, getting her to join in the activities and her later doing this?
4. Memories of her dying father, his urging her to go out? Memories of her mother? The visit to the doctor, practical, urging her out?
5. At school, encountering Mr Waliker, his whistle, his manner, with the children, stern? Later talks with him, his teaching science, rational, his criticisms of Billy’s work?
6. The outings, with the children, climbing the tree, Roxster and his presence, climbing and rescuing them, Mr Waliker observing?
7. The relationship with Roxster, his age, his work, his manner, the effect on Bridget? Tentative, going out, her infatuation, the beginning of the relationship, a fling? The effect on her? On the children? Especially Billy? Memories of his father? The party, the dog, in the water, Roxster diving in, the wet shirt, the reaction of Bridget’s friends?
8. The range of friends, from the past, new friends, meetings, chatting, urging her to enjoy herself and break out?
9. Daniel, from the previous films, the Hugh Grant’s style, his babysitting and bond with the children, his own life, his illness, in the hospital, the talk with Bridget, the talk about his son? And the son arriving at the party, charming, Daniel more at peace?
10. Roxster, time of the relationship, his backing out, not communicating, later return, his mention of time travel, indicating she be younger, her retort that he should come into the future with her? The break?
11. The work of the television station, the program, the focus on women, the guests, the personalities, the producer, Bridget enjoying her work, talking about her relationship and finding herself on stage with the applause?
12. Chloe as the nanny, her being recommended by friends, her role in the house, her ideas, efficient in every way, bonding with the children, the perfect nanny? Bridget finally accepting her?
13. Bridget and her memories of her husband, going through the documents, the diary, writing the message to him, and with children and setting the balloons?
14. Mr Waliker and his class with parents, her setting up a television program, the girl with the chart, Billy and his apprehension, the discussion about fruit fly, turning the discussion to the presence of the soul, and another life after death?
15. The shift in emphasis from the atmosphere of the fling to more serious? With the children? The discussions with Mr Waliker, going on the walk with him, the rain, the discussions, issues of reason, imagination, magic? The effect on him, the change, still blowing the whistle, but in class? The importance of his talk with Billy? The cut, the return to the concert, Billy singing, I’ll do Anything, in memory of his father, to have a memory of his father, the enthusiastic response?
16. The visit to the doctor, her practical advice, common sensed, Bridget listening to it, memories of her father, discussions with her mother?
17. The change of atmosphere, the light and more permissive episodes with her friends and with Roxster? The change, the serious interactions with Mr Waliker?
18. A year later, happiness, a new beginning, Mr Waliker the piano, the friends, her mother, her future in her 50s and beyond?

PADDINGTON IN PERU

UK, 2024, 106 minutes, Colour.

Hugh Bonneville, Emily Mortimer, Samuel Joslin, Madaleine Harris, Julie Walters, Olivia Coleman, Jim Broadbent, Hayley Atwell, Voices of: Ben Whishaw, Imelda Staunton. Cameos by Hugh Grant, Joel Fry, Robbie Gee, Sanjeev Baskhar, Ben Miller, Jessica Hynes.

Directed by Dougal Wilson.

Who cannot like Paddington! His stories are always bearable!

We have enjoyed the first two films very much. There was an element of surprise about them, the introduction to Paddington himself, the wonderful voice provided by Ben Whishaw, the members of the Brown family and their ability to welcome Paddington. And, there were various adventures and, who can forget, the villainous Hugh Grant?

It does mean that here we accept Paddington straightaway, the glimpse of his early years in Peru reaching out to pick a beautiful orange, falling into the River – and landing in London. Now, a letter from his Aunt Lucy (voiced by Imelda Staunton) encouraging him to come for a visit (and that humour is awkward episode getting his passport photographs).

But there is a bit of background about Mr Brown, somewhat British stick-in-the Mode, challenged at work about risks. In the brainwave! Why don’t they all go with Paddington to Peru, including the kindly Mrs Bird (Julie Walters). Hugh Bonneville is once again Mr Brown but, this time, Emily Mortimer is Mrs Brown.

Once they will arrive in Peru, now met by Reverend Mother at the local home for retired bears! Suddenly, and exuberantly, we have Sister Act meets The Sound of Music. But, bad news, aunt Lucy has disappeared and Paddington is determined to find her. And, Olivia Coleman, in recent years showing a variety of talent (Wonka,  Little Wicked Letters), is here as the exuberant Reverend Mother.

With the action adventure that follows, more than a touch of Indiana Jones here, the action is geared more to the young audience, the touch of caricature with the boat captain (Antonio Banderas), farcical and slapstick situations high dangers and minutes, especially as Paddington and the family get lost in the Andes jungle, double dealings and some sinister flashbacks…

But, there are some secrets to be revealed, and a variation on the search for El Dorado and that fabled gold. This, everybody benefits from the adventure, and Mr Brown becomes extraordinarily daring. And Paddington has to make a decision, finding his tribe there in Peru, and whether he will go back home with the Browns.

Adult audiences, especially, please don’t rush for the exit when the credits begin to appear because there is a very enjoyable special guest interlude during the credits. And, as always, possibilities for more.

1. The popularity of Paddington, the films? And in himself, from Peru, landing in London, the Brown family, part of the family, his adventures, memories of Aunt Lucy in Peru, the possibility of his returning to visit Peru and Aunt Lucy? The effectiveness of Ben Wishaw’s voice?
2. Expectations from the previous film and their popularity and acclaim? The intentions of the filmmakers here, a film for younger audiences, style, treatment, humour, adventures, the touch of the absurd for enjoyment? The impact for older audiences, the adult characters, the adventure, the mayhem? And the postscript with Hugh Grant?
3. The scenes of Paddington’s origins, little bear, the oranges, on the branch, falling, to England, with the family? The memories of Aunt Lucy? The correspondence with her? His receiving the letter from her, inviting him to Peru, his eagerness?
4. The Brown family, the children growing older, University entrance, computer games and inventions, not wanting to play Scrabble with the mother, Mr Brown, the firm, Risk-taking, the American executive, her demands, the challenge to him? His very proper reticent British way of style of life?
5. The suggestion to go to Peru, the reaction of the family, Mr Brown and the decision to take a risk? Mrs Bird and her presence, decision to go? The farewell in the street with all the British film and television celebrities’ cameos? The flight, landing, Peru?
6. The visuals of Peru, the mountains, the river, waterfalls, locations in Peru and Colombia? The settlement? The boat
7. the convent, Reverend Mother, her cheery attitude, the staging of the musical, Sister Act meets The Sound of Music? The family settling in? The disappearance of Aunt Lucy, the nuns? The retired bears and their lifestyle, bingo…? Reverend Mother and her explanations, her eagerness for them to go searching, but her remaining at home?
8. The expedition, Paddington and his eagerness, the family, hiring the boat, the captain and his daughter, his manner and mannerisms? On the voyage, the comedy, the dangers, the rapids?
9. The background of El Dorado, the captain and his ancestors and their appearing behind him, his relationship with his daughter, the search for gold, Paddington and his arm band, the translation and interpretation? The captain disappearing and his search?
10. The family on the boat, the dangers, capsizing, stranded? Through the jungle? Mr Brown and his being more daring? Paddington’s memories of the Inca image, his arrival at the tower, the rock? The family arriving?
11. The Machu Picchu kind of location, the confrontation with the captain, pursuing more Paddington, the fights, the bolder, the dangers…? The reappearance of the daughter, her helping the family?
12. Mrs Bird, back at the convent, curious, suspicious, finding the radio room, the confrontation, the truth about Reverend Mother? The plane, flying, the crash landing, the confrontation, Reverend Mother from the El Dorado-seeking family, the flashbacks to their disasters? The confrontation with the captain? Her being overcome?
13. Finding Aunt Lucy, going beyond the barrier, finding El Dorado, the gold being the oranges, the scenes of collecting, squeezing, Paddington and his predilection for marmalade?
14. Paddington finding his tribe, his being welcomed, his speech, the family ready for him to stay, his decision to return with them, finding his tribe but going home with his family?
15. Happy ending – and the epilogue with Phoenix Buchanan and Hugh Grant’s style? Future prospects?

HERETIC

US, 2024, 111 minutes, Colour.

Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace.

Directed by Scott Beck, Bryan Woods.

An arresting title. Heresy – but heresy from what faith?

It is not easy to categorise this thriller. On the one hand, there will be an audience who wants to see it as a horror film, an insane male character terrorising two young women, confining them in his house, continued threats, violence. And, this audience will be aware that there is a lot of religious discussion during the film but they will not find this very interesting, hearing it but not particularly taking note of it. The thriller tension is what is important.

On the other hand, there will be an audience who listens attentively to all the dialogue, the focus on churches, on religion itself, unbelief and its consequences – all presented in the context of a thriller of menace and ultimate violence.

And, this thriller is particularly different because of the presence of Hugh Grant. He has played some villains in recent films and television series but here he returns to the style that he used in so many of his romantic comedies. There are his sometimes stumbling manner, his ironic grimaces and self-deprecation, his immediate charm. But, as the narrative goes on, this becomes a very sinister charm.

One of the arresting aspects of the film is that it initially focuses on the Church of Latter Day Saints, the Mormons. (In fact, film information notes that the two actresses were brought up as Mormons, though no longer belonging to the church, and so know from the inside how they should play their roles.) They are young, earnest, chatting together initially about personal attitudes, one finding that watching a pornographic film confirms her belief in God, the of the more wary. And, they are ignored in the town as they offer leaflets,  mocked by a group of girls wanting a self it with them.

But, their appointment is with Mr Reed who has told the church he is interested in Mormon beliefs. And so, Hugh Grant, Mr Reed, charming and welcoming, the girls cautious because they need to have another woman in the room with them, Mr Reed promising his wife in the kitchen, making blueberry pie, will join them. Of course, she does not. And, while he has trapped the girls, he continues with his conversation, asking them about their faith, talking about his religious investigations, studies and essays, all the time reassuring them even though they become more and more anxious, pretending to ring the church for rescue.

So, interest in the film will depend on how much audiences want to see as the menace continues, the consequences for the young women, trapped, wanting to escape, and, indeed, going down to the basement and discovering another weirdly sinister world. And the young women using their wits in desperate situations.

Those following the dialogue will be both enlightened and confused as it develops, Mr Reed using songs like The Air I Breathe and board games like Monopoly and the changes with further “iterations” as illustrations of how original experiences of faith lose their strength and power with further iterations. And he does come up with a solution, even as he horrifies the women and ourselves as we discover his secret and weird belief in raising women “prophets” from the dead. Control is his final answer, all the nature and core of all religion being control.

Audiences were not quite expecting this one!

1. Title, religious themes?

2. Orthodoxy and heterodoxy?

3. The Church of Latter Day Saints context, as a church, Joseph Smith and his testing religions, forming his own, his personal life, issue of polygamy, changing laws, evangelisation, sisters and brothers going out to visit, the Church authorities?

4. The film as a psychological thriller, as a religious/religion-oriented thriller?
5. The presence of Hugh Grant, his reputation, his acting style, his charm and idiosyncrasies, grimaces, eyebrows… Used to different advantage here?
6. The plausibility of the plot, the church, the missionaries, their behaviour? Mr Reed and his house, his initial manner, the deception, the control, the discussions about the true religion, God, the trapping of the women in the house, the issue of raising from the dead, the revelation of the truth, Mr Reed and his believe in that true religion is control?
7. The introduction to the two missionaries, the huge mountain, the seat, chat, the discussion about pornography, and the reinforcement faith? Sister Barnes and her reaction? Moving through the town, ignored by people, the girls with the photo and pulling sister Paxton’s skirt, climbing the steps, returning, the bikes, going to the Reed house, the appointment?
8. Hugh Grant as Mr Reed, the welcome, the sympathy about Mormonism, the offering pie, the promise to meet his wife, her shyness, the drink, the candles? Taking their coats? The revelation about locking the bikes, the key in the wrong pocket? The beginning of the uneasiness?
9. The thriller aspect, the women trapped, time passing, the pretence about phone calls, yet his saying that there was metal in the walls, no phone, the mechanism for locking the door? The possibly leaving at the back, the house built on the cliff, the two doors, belief in disbelief, his taunting them, the going down into the basement, the consequences in the basement, the apparition of the old woman, eating the pie, her death, the plan for her resuscitation? The desperation of the young women, the device of trying to get the matches?
10. The theological aspect, audience interest in Mormonism, its history, Joseph Smith, his own behaviour, the comments about polygamy and the changing of the law, polygamy for promoting more children in the church? The further conversations about the different churches, about God, about belief, the testing of the girls? Mr Reed and his explanations about his study, the range of books on his library, his essays, his explorations, his playing of the music, The Air I Breathe, and his theory of iterations, from the original through the various developments, moving away from the original insight? The example of Monopoly on the boardgames in the developments?
11. In the basement, Sister Paxton attacking Reed, his slashing Sister Barnes, her bleeding out, her coming again, bashing Mr Reed? Sister Paxton, the confrontation of ideas with Reed, her astuteness in noticing things, her escape, through the various doors, the discovery of the women in cages, his controlling them? Her shrewdness in noting what had happened, the conclusion of religion was Control? His agreement, the attack by Sister Barnes, her death? Sister Paxton and her working out that his control was to make them think that they were in control while he controlled them?
12. The background of the elder, in the church, checking on the girls and their return to headquarters, his going to visit Mr Reed, his return with the pamphlet?
13. The uncertain ending, the effect on Sister Paxton, Reed and his beliefs, control, his Satan -like theories?

UNFROSTED

US, 2024, 93 minutes, Colour.

Jerry Seinfeld, Melissa McCarthy, Jim Gaffigan, Amy Schumer, Hugh Grant, Christian Slater, Patrick Warburton, Sebastian Maniscalco, Max Greenfield, Cedric the Entertainer, Kyle Dunnigan, James Marsden, Adrian Martinez, Thomas Lennon, Tony Hale, Maria Bakalova, Dean Norris, Peter Dinklage, Bill Burr, Ronnie Chieng, Jon Hamm, John Slattery, Fred Armisen, Dan Levy.

Directed by Jerry Seinfeld.

You might have to be in a good mood to enjoy Unfrosted. Even then, it may not be entirely satisfying. But, it offers a lot of ingredients and performances for an easy enjoyable 90 minutes.

It would seem that Jerry Seinfeld has had a thing about breakfast cereals over the years, part of his stand-up comedy routines. American audience, familiar with Kellogg’s and Post cereals, the rivalries in Battle Creek, Michigan, especially in the 1950s and 1960s, may feel that this is familiar material, companies, products, promotion, cereals for parents, cereals for kids. Non-American audiences will be familiar with Kellogg’s but not so much with Post.

There is an amusing opening, a young boy is dissatisfied with his family, packing his goods in a knapsack, leaving home, arriving in a diner and encountering Jerry Seinfeld and they talk about Pop Tarts and Jerry offers to tell the true story of its origins, and the flashback to the shenanigans.

And, shenanigans there are, in many ways like a live action cartoon. Some of the behaviour is quite absurd. A lot of the action and behaviour is very silly. From a more serious point of view, there is caricature, there is irony, and a lot of satire, comment on American capitalism and business deals…

We are taken to Battle Creek in the 1960s, in the last months of JF Kennedy’s presidency. Seinfeld plays one of the executives at Kellogg’s, Jim Gaffigan playing the heir to the family business, erratic, not always confident. There are lots of discussions, issues of products, testing, marketing. But, across the way, with binoculars peering from both sides, is the Post office, led by Marjorie Post, played by Amy Schumer. An awards ceremony where Kellogg’s wins everything, compared by Cedric the Entertainer.

But, there are plots afoot, Marjorie with her underlings and spies, stealing Kellogg’s formula, Kellogg’s with their spies. They are after a family product to entice families.

Then two young children appear getting into dumpsters and finding leftovers and testing them. They become an important part of the final drama, arbiters of what children like or not.

Kellogg’s then want to go back to one of their previous experts, Donna, played by Melissa McCarthy, working in the company preparing for moon landing – and ridiculing the very idea of anybody going to the moon! She has back to the company, hires an alleged expertise group, including caricature Nazi played by Thomas Lennon, a fitness freak played by James Marsden, a bike manufacturer, a chef. In fact, they don’t come up with anything much at all. There are some comedy sketches for each of these characters, even to creating a pastry covered fish.

There are also some satiric presentations of press conferences and how not to answer questions. There is also a crisis in the supply of sugar, Kelloggs visiting a Latin dictator to ensure a steady supply of sugar, he both charming and threatening. Which means then the Post executives have to look elsewhere and decide on Cuba, including a visit to Moscow and Kruschev. This involves complications with the Kennedy administration and Kelloggs going to have an interview with the President.

In fact, one of the enjoyable aspects of the film is the range of promotion caps that critical Snap, Crackle and Pop and a wide variety, but the best of all of these is the British actor who in his Tiger outfits is filmed for commercials. The special enjoyment is that he is played by Hugh Grant, sending up himself, sending up pompous British, full of self-importance, ambitious to plead King Lear, ultimately trying to lead a revolution against Kellogg’s but failing.

Amongst the other satires are presentations of famous TV host of the 1960s, Walter Cronkite, as well as the national official for approval of foods and the pressure Kelloggs put on him.

Ultimately, both companies hasten to put a new product on the shelves, Post failing completely with “Country Squares” (and the comment who wants to be a square!) And Kelloggs using an old computer which turns out mistaken messages, wanting to have Trat Pops, finish up having Pop Tarts – an extraordinary success, and Jerry Seinfeld’s character getting all that he wanted for his house, especially a front lawn.

Audiences will enjoy the finale and the credits, all the characters performing in an entertaining musical performance and recapping their characters.

WONKA

US/UK, 2023, 116 minutes, Colour.

Timothee Chalamet, Calaha Lane, Hugh Grant, Olivia Coleman, Keegan-Michael Key, Jim Carter, Patterson Joseph, Matt Lucas, Matthew Baynton, Freya Parker, Rakhee Thakrar, Natasha Rothwell, Rich Fulcher, Colin O'Brien, Sally Hawkins, Rowan Atkinson, Rufus Jones, Tom Davis, Kobna Holdrook-Smith..

Directed by Paul King.

Everyone knows the name, Willy Wonka. He first appeared in Roald Dahl’s story in 1964 and a subsequent story in 1972. Roald Dahl has been one of the most popular storytellers, especially for younger audiences, with such titles as Matilda, The Witches, James and the Giant Peach…

But, Willy Wonka is known far more widely than his readers with the 1971, Willy Wonka and the Chocolate Factory, with the engaging Gene Wilder, and the popular songs, Pure Imagination, and the Oompa Loompa song (both in this present film but not The Candy Man). Tim Burton did a reinvention of Willy Wonka with Johnny Depp in Charlie and the Chocolate Factory.

Now, here is a prequel. Where did Willy Wonka come from, where did he learn how to make chocolate, his relationship with his mother, his ambitions to open a chocolate store, a nicely naive young man setting out on an adventure. The screenplay actually takes a number of issues from the original story, especially the villainous chocolate cartel entrepreneurs and their opposition to Willy Wonka.

So, quite a lot of plot for a prequel. However, this new film is also designed as a musical, rather reminiscent of the film versions of Broadway musicals (and, most probably, Wonka is destined for Broadway and beyond). The new songs are pleasant even if not so memorable as Pure Imagination, sung nicely by the various characters with lyrics that illustrate their characters and the situations – the most memorable, perhaps, involving the repetition and the beat of the word, Scrub.

The film has been co-written and directed by Paul King who became a great favourite with his very pleasing and entertaining Paddington films. He brings the same sensibility to Wonka.

And, to be the new Willy Wonka, here is Timothee Chalamet who has already proven himself as a substantial actor on screen presence in dramas and comedies but, especially as Paul Atreides in Dune – and Dune 2 scheduled for release in 2024. He is quite small, very young-looking, a blend of the innocent and the ambitious, remembering his mother (a cameo by Sally Hawkins), generous, but shocked to discover the greed of a venal world. And the tag, “the greedy always beat the needy” often repeated throughout the film.

There is something rather Dickensian about the early sequences, Wonka encountering an ultra-Dickensian landlady played by Olivia Coleman. And Wonka is sentenced to a long imprisonment below the boarding house, a workhouse laundry, with a different assortment of penalised characters, especially a young girl, Noodle, who tries to save Wonka. Amongst those down below is the former accountant of the cartel, played by Jim Carter, liberated from Downton Abbey.

Willy Wonka has a chest full of ingredients for chocolate, a magician’s capacity for multiplying chocolates with the most exquisite tastes and physical and psychological effects, leading to a lot of comedy turns. He concocts a plan to escape from the laundry with Noodles’ help, then with the help of the others, to find the cooked books of the cartel and expose them. However, they have their allies, the chief of police, the chocoholic Keegan-Michael Key (and his fat suit, fatter suit, fattest suit after his choc indulgence), and the chocoholic priest, Rowan Atkinson this time with no weddings but one funeral.

The cartel is sinister, led by the aggressive Patterson Joseph, aided by Matt Lucas with an orange wig which falls off, and Matthew Baynton who chokes whenever he tries to say the word “poor” and gags when others see it. They are due for a comeuppance.

And, the Oomps Loompas? Well worth awaiting the arrival of a miniature Hugh Grant as Lofty, resentful that Wonka has stolen his special beans and demanding repayment. Hugh Grant has been sending himself up in recent films and obviously is enjoying this escapade, a heroic rescue for Wonka and Noodles – and a kind of MC entertainment during the final credits!

Roald Dahl is often quite dark in his stories. Even though Wonka is very light, there are the three villains, there is the corrupt chief of police and priest, and a dire attempt on the life of Willy Wonka and Noodle.

This is quite a lavishly produced entertainment, incorporating happy memories of Willy Wonka from the past, drawing us into his extraordinary chocolate world yet again.

1. The popularity of Willy Wonka, Roald Dahl’s stories, 1971 film, 2007 film? Now a musical? Prequel?
2. The production values, fantasy and effects, costumes and decor, locations, the city blend of London/Paris/Berlin?
3. The new songs, the characters singing them, the lyrics illustrating the characters and situations, Scrub, the dance routines, the lavish stagings and sets, choreography – and Broadway musicals?
4. The incorporation of the original song, Pure Imagination, theme for the film? The Oompa Loompa song?
5. Willy Wonka and his origins, with his mother, her care and love for him, the chocolate bar, the message? The dream of opening the chocolate store, the memories of the store in the city? His ambitions? Setting out, his suitcase and its contents, his magic powers? Farewell to his mother? Her reappear at the end and the opening of the store? Being with him?
6. Arrival in the city, his personality, young, enthusiastic, naive, the 10 sovereigns, the demands made on him, a fine for daydreaming… No money, sitting on the bench, Bleacher talking with him, taking him to Mrs Scrubbit? Nice, nasty, demanding the money, his staying the night, with the money, her demanding interest, is relegation to the basement, not reading the fine print, the warning from Noodles?
7. Downstairs, the laundry, hardship, the song, Scrub, Noodles at her place, the other members, the comedian, Abacus and his being an accountant? The plan, Wonka getting out with the laundry, then everybody getting out, working together, the search for the books of the entrepreneurs (and the flashback to Abacus searching and his arrest)?
8. The cartel, the three personalities, the aggressive leader, Matt Lucas and his bad wig and naive utterances, the chocolatier who could not say the word “poor” and choked when he heard it? Their shop, encountering Willy, tasting the chocolate, turning against him? Using the chief of police, his being paid in chocolate to eliminate opposition? The deals, a touch of conscience, taking the chocolate, becoming fatter and fatter? The priest, the Cathedral, the confessional, payment by chocolate, the lift downstairs, the preparation for the funeral, the giraffe, getting the giraffe out, the group getting inside, the chocoholic monks, the funeral?
9. Noodles, the nice orphan, age, mystery of her background, drop-down the shoot, the ring, Willy recognising the link with the chocolatier? Helping, the dangers, the final revelation, the story of her birth, inheritance, disappearance?
10. The scheme for Mrs Scrubbit and Bleacher, pretense that he was Austrian nobility, his dressing up, the flirting, the final expose?
11. The nature of the chocolates, the people in the square, the response? The police? The ingredients of the chocolates, going to the zoo, the episode with the giraffe? In the Cathedral?
12. The arrival of Lofty, the background of the Oompa Loompas, Lofty and his size, dress, Hugh Grant’s manner, vocal style, song, walk, accusations about the stealing of the beans, the flashbacks? His keeping guard? His reclining, Willie and his puzzles? His coming to the rescue when the couple were drowning in chocolate? The origins of the Oompa Loompas and their work in the factory, Lofty being shorter and the truth, becoming the taster?
13. The threat to Willie and Noodles, the cartel and the confrontation, releasing the chocolate, their almost drowning, the rescue? And the transformation of the chocolate into the town square fountain? The chocolates the entrepreneur, their flying, the arrest, the good policeman and the exposure of the overlarge Chief of Police?
14. Noodles, the happy ending, reunited with her mother?
15. The happy ending, and the future for Willy Wonka and his chocolate factory?
16. And Hugh Grant And puzzled but, the MC during the final credits?