This is a day and age where sequels usually produce a rolling eye or a heavy sigh. Nevertheless, people still watch them to see what journeys their heroes embark on. The hope lies in thinking Hollywood would hit the mark but the shot is often a gamble. I will be honest in saying I was very nervous when news spread of development for “Paddington in Peru.” The film had a lot to live up to following a sequel more successful than the first, along with the absence of its rising director. My reservations were alleviated when I heard the new director’s vision but I was still concerned regarding the recasting of Mrs. Brown. I can safely say “Paddington in Peru” not only achieves tonal consistency but also reaps the benefits of its inherent risks.
“Paddington in Peru” is the third installment in the “Paddington” film series based on the character by Michael Bond. The film follows Paddington Bear and the Brown family as they travel to Peru to visit Paddington’s Aunt Lucy. They arrive at the Home for Retired Bears to discover Aunt Lucy is missing and begin the quest to find her. Along the way they make some new friends — and enemies — while they navigate the lush yet dangerous Amazon Jungle. Similar to the other films, “Paddington in Peru” is loosely based on the books featuring certain details while expanding its horizons for the big screen.
FAMILY REUNION
One aspect which keeps the charm from the other releases is the return of almost all the original cast. Mr. Brown’s (Hugh Bonneville) risk averseness is challenged and Mrs. Bird’s (Julie Waters) suspicions are heightened while we see Judy (Madeleine Harris) and Jonathan (Samuel Joslin) navigate growing up. Ben Whishaw returns as the beloved Paddington, but there is a member of the Brown family with a new face. Emily Mortimer replaces Sally Hawkins as Mrs. Brown, embodying the character so well that you don’t even notice a difference. Carrying on the tradition of having A-List antagonists, Antonio Banderas plays Hunter Cabot, a suave yet haunted adventurer. Acclaimed British actress Olivia Colman and newcomer Carla Tous accompany the cast along with returning Jim Broadbent and Imelda Staunton.
Award-winning and highly acclaimed commercial director Dougal Wilson fills the vacancy left by Paul King. At age 53, “Paddington in Peru” is Wilson’s first feature-length film, backed with many years of directing ads, music videos and short films. King is present through the story credit with fellow collaborator Simon Farnaby and Mark Burton, Jon Foster and James Lamont as writers. Cinematographer Erik Wilson returns, Dario Marinelli of “Paddington 2” comes back for the score and Kenneth Branagh’s talented editor Úna Ní Dhonghaíle joins the team. “Paddington in Peru” is also the first instance where legendary producer David Heyman and his studio Heyday Films are not attached. The film was instead produced by Rosie Allison, executive producer of the previous movies, while still being made by StudioCanal.
Wilson was the perfect pick for “Paddington in Peru” as the style of the “Paddington” films can be seen in his portfolio. Wilson’s Grammy nominated music video for Coldplay’s “Life in Technicolor II” encapsulates the atmosphere of Gruber’s antique store with wooden puppets of the band members. Wilson’s popular Christmas advertisements for John Lewis & Partners such as “The Long Wait” also feature the playroom look audiences feel during scenes in the Brown’s house. His other yuletide adverts for John Lewis follow intelligent animals or creatures with “Excitable Edgar” being the closest to Paddington in terms of appearance and filmmaking.
CINEMATIC ODE
Wilson and the rest of the crew use “Paddington in Peru” as a unique way of paying homage to the history of cinema. The ghost of Cabot’s ancestors and his companions are clearly inspired by the conquistadors from “Aguirre, the Wrath of God” along with the plot of finding El Dorado. Cabot’s first appearance wearing white and listening to a gramophone on a riverboat is a direct homage to Klaus Kinski’s character in “Fitzcarraldo.” Wilson also pulls from Buster Keaton’s “Steamboat Bill, Jr.” impressive gag stunts. There are many other references throughout, including a rolling boulder, featured in the “Raiders of the Lost Ark” or Keaton’s “Seven Chances,” and nuns who are the center of numerous “The Sound of Music” jokes.
Each of Paddington’s theatrical adventures is adorned with bright colors and retro set pieces in the modern day. The characters, locations and situations are eccentric while being grounded in reality. These features and more make Paddington’s world almost feel like the many realms of Wes Anderson. The detail which makes Paddington separate from the arthouse is its heart. Art films often have their nihilistic tendencies while Paddington reminds patrons how to see the good in every situation. “Paddington in Peru” does not shy away from Christian themes and views the church in a surprisingly respectful light. A beautiful parallel can be found in the film where Paddington mentions how even though the Peruvian bears are his tribe, the Browns are his home. This lesson can relate to how we as Christians call humanity our tribe, with Christ being our home.
The reason why Paddington is consistently dominating the box office is mainly because of how it steps outside of its genre’s norms. Live-action and animated hybrid children’s book adaptations are known for their unsettling CGI and unfaithfulness to source material. “Paddington in Peru” and its predecessors manage to balance a realistic yet genuine look while playing like a moving storybook. Another factor Paddington has over other properties is his newfound global following as the unofficial ambassador of London. “Paddington in Peru” and its associated content break cultural stereotypes, in this case London and Peru, by having us explore these breathtaking distant lands. “Paddington in Peru” is a much needed reminder of how the medium still exists to be a gateway for humanity to escape reality and traverse uncharted territories.
