Going on a bear hunt with Paddington in Peru

The Paddington ‘threequel’ sees the Browns and Paddington travel to Peru to visit Aunt Lucy at the Home for Retired Bears, after the Reverend Mother in charge there writes to Paddington to tell him that Aunt Lucy is seriously missing him.

But when they arrive, it’s to the news that Aunt Lucy has disappeared. Paddington persuades the family to mount a search for her, which they do by hiring a riverboat owned and skippered by one Hunter Cabot, along with his daughter Gina, and head into the jungle.

Of course, this being Paddington, this bear hunt doesn’t go smoothly.

With Paul King once again at the helm, having also co-written the screenplay – along with Mark Burton and Jon Foster for this outing – it is a charming watch, though feels a little flatter and shorter on the gags than for Paddington 2. That said, the second film set an incredibly high bar.

There is fun to be had spotting nods to other films – not least The Sound of Music and Raiders of the Lost Ark.

Where it is significantly helped is in the involvement of Olivia Colman as the Reverend Mother and Antonio Banderas as Cabot, both of whom turn in delightfully arch performances.

I was surprised that I didn’t feel it ‘wrong’ seeing Emily Mortimer as Mary Brown, with Sally Hawkins not wanting to reprise the role again. Otherwise, Hugh Bonneville is back as the risk-averse Henry Brown, along with Madeleine Harris and Samuel Joslin as Judy and Jonathan Brown, and Julie Walters as Mrs Bird. Carla Tous catches the eye as Gina.

A very pleasant way to spend a gloomy Saturday afternoon – and make sure you watch ALL the way to the very end.

Wonka is a (Paddington) bear hug of a movie

Paul King has found a formula – and it’s every bit the equal of any chocolate treat that Willy Wonka can confect.

Having hit the jackpot with the Paddington films (Paddington in Peru comes next year), King teamed up with Paddington 2 co-writer Paul Farnaby to create a Willy Wonka origin story. And it’s an absolute joy.

We meet our titular hero as he arrives by sea in an unnamed European city (hints of both France and Germany though mostly filmed in England), armed only with his magical abilities with the cocoa bean and the dreams that his mother, who steered a narrow boat up and down canals, told him were so important.

She herself made wondrous chocolate – this feels reminiscent of Joanne Harris’s iconic novel, Chocolat, not least in a sense of magic being involved – but died before she could impart the secrets to her son.

The problem for Willy though, is that the town he has chosen in which to launch his products on the world is effectively run by a cartel of three unscrupulous chocolatiers who want this threat to their power gone – and that follows having fallen prey to the dreadful Mrs Scrubitt and her henchman Bleacher, after the latter offers a homeless Willy a roof over his head, without mentioning the hidden costs that will drive him into captivity and forced labour.

Calah Lane as Noodle

But Willy makes new friends, including the orphan Noddle, and they all – eventually – engage with his plans of how to free themselves and defeat the cartel.

A few commentators have suggested that Willy is such a nice character, it’s hard to believe that, in his future lies a less charming approach.

But there are hints here that his inherent mischievousness could develop a darker side. And Timothée Chalamet captures both that and the naivety of the character in a completely convincing way.

He also has a very pleasing singing voice that does full justice to the great new songs from Neil ‘The Divine Comedy’ Hannon. It’s also a delight that the film includes new versions of Pure Imagination and The Oompa-Loompa Song from the classic 1971 Leslie Bricusse and Anthony Newley score.

I’ve already effectively said that Chalamet is very good indeed – he is utterly convincing and has charm by the bucketload, and can sing and hoof brilliantly. Teenager Calah Lane as Noodle is simply wonderful in what is sure to be her breakthrough role.

Everywhere else – as with the Paddington films – is a wonderful ensemble cast. Sally Hawkins as Willy’s mother, Jim Carter, Natasha Rothwell, Farnaby and Rakhee Thakrar as his new friends are all excellent.

Matt Lucas and Mathew John Baynton as two of the triumvirate of the chocolate cartel are also great, but do rather lose out to a wonderful turn from Paterson Joseph as the third of their corrupt number. And this is before we mention Rowan Atkinson as a dodgy priest, Olivia Colman as Mrs Scrubitt, Tom Davis as Bleacher and Keegan-Michael Key as a corrupt chief of police.

Ah… and then there’s Hugh Grant, who risks stealing the entire show with his Oompa-Loompa (left), as he did when playing Phoenix Buchanan in Paddington 2.

Anything else to add? It looks gorgeous. And after a really tough personal year, it was the hug of a movie that I needed. There is a scene involving flamingos and balloons that had me blubbing for sheer joy.

And that seems to be King’s great skill: he can create films like this, without a shred of cynicism, but always avoiding over sentimentality or mawkishness. A great big (Paddington bear) hug of a film!