A couple of years ago — actress Renee Zellweger — best known for her insufferable and beloved portrayal of British darling — Bridget Jones in the movies that were spawned off of Bridget Jones’s Diary — was at the center of a vicious scandal.
After years away from the public stage — she emerged for an event and all hell broke loose.
Th media immediately attacked Zellweger by concentrating on her looks which had apparently changed within the last fifteen years.
Speculation was rampant about whether she had carved in plump cheekbones, fattened her lip or succumbed to the effects of excess Botox treatments.
Through it all — she remained silent — preferring to hang under the radar until the coast was clear.
The madness did eventually subside which tends to happen when The Kardashians actively provide interludes.
But, as we gleefully anticipate the third installment in the endearingly nostalgic franchise — the ugly tremors of “face-shaming” — once again resurface.
This time it’s being hosted by a writer employed by industry favorite — Variety — Owen Gleiberman — the Chief Film Critic (whatever that means!) — who alleges that watching the trailer for Bridget Jones’s Baby scarred him for life — thanks to Renee Zellweger’s unrecognizable features.
Gleiberman goes into detail about exactly why he’s convinced that the leading actress manhandled her face beyond repair.
She didn’t look like herself or her iconic character.
He explains that at the time she came on the scene — his subject wasn’t “as beautiful” as box office bombshells like Julia Roberts or Nicole Kidman “but she was beautiful in a way an ordinary person is.”
Basically — according to this critic — Zellweger was lucky to have been given the opportunity to shine alongside hunks like Tom Cruise and Jude Law because she wasn’t physically intimidating enough for such an honor.
He laboriously describes the way she looked then and compares the results to present day.
Yes, indeed after more than a decade since her esteemed debut — Bridget Jones doesn’t possess the cherubic fineness that expanded her pink cheeks and enhanced the bright-eyed girl/woman that we fell in love with not so long ago.
Aging is a condition that none of us can avoid and why should we? The embedded evidence reveals the gorgeousness of time.
But, Mr. Gleiberman isn’t willing to compromise.
How dare Bridget Jones spend 15 years transforming into the woman she has become — through the aid of trial and error.
It’s really disheartening that the world of entertainment critics is cluttered with the renderings of middle-aged white men — with too much hair and not enough wisdom to shell out the truth according to women.
I’m guessing these guys are the same ones who beg and plead for us not to pay money to see the upcoming Ghostbusters remake that features women embodying the roles of the original male cast.
Bridget Jones’s Baby looks like Bridget and sounds like those who can relate.
It’s the perfect accompaniment to the struggles of everyday heroines who find themselves in a bind when they are still single and forty-something.
It is the film that depicts the real life challenges of accruing an age bracket that threatens your proposed disposition.
It’s the ultimate woman-fest that gives me and others in my generation the satisfaction of relating to a journey that took enough years in the making.
We get it.
Being a woman in her forties who is preggers, single and confused isn’t an ideal or uncommon disposition.
This film sounds like a winner and after peeping the trailer — I am even more intrigued.
The awful review in Variety is a sham and a disgrace — as it attempts to belittle the star and demolish all her accomplishments based on the effects of maturity.
Getting older shouldn’t be ridiculed or degraded.
Zellweger isn’t the fresh faced ingenue anymore because she’s older.
Her male co-stars also look visibly altered by the hands of time — but for some reason their evolution doesn’t require quite as much scrutiny.
Women are punished for being human.
The idea that we are susceptible to those qualities forces us to accept that we will be replaced for a newer model.
Renee Zellweger a.k.a. Bridget Jones looks ravishingly familiar. Her unexpected dilemma is comfortingly within the grasp of women like me.
Her more refined template echoes what a former twenty-eight year-old girl needs to see — now that her forties have ravished her.
The piece written by Gleiberman does everything wrong and nothing right.
It strenuously makes the case that Zellweger succumbed to the pressures of Hollywood by altering her face for the reward of looking nothing like what she resembled when she was in her late twenties.
Why isn’t this argument and disgust geared towards the likes of Matthew McConaughey or Tom Cruise or even Ben Affleck. Not to mention Matt Damon.
Men are given the freedom and dignity to age without accusatory garbage hurled their way.
But women are charged with the unrealistic task of remaining frozen time.
If there’s a hint of sunken cheekbones or lips with slightly indented lines — all hell breaks loose and suddenly her authenticity is unfairly vetted.
Ladies! It’s time to kick men who write this shit to the curb.
Bridget Jones is back!
And she’s fifteen times doper because wisdom and beauty only gets better as the pages of the calendar lessen.
Only men of a certain character can comprehend that logic. I’m assessing that Owen Gleiberman doesn’t fall into that category.
Industry trades need more women writers.
Particularly black women. Until that changes — I will continue to scream against injustice.