Trained in the British TV industry, Beeban Kidron has come to specialize in modest, eccentric character- driven comedy-dramas, often dealing with relationships between women. A runaway at 17, she work...
The British actress shot her role in the film in 2007 and the movie is slated for release later this year (09).
But the picture has hit trouble in the editing suite, with director Beeban Kidron walking away from the project over alleged "creative differences".
The shock departure follows the recent exit of Kidron's screenwriter husband Lee Hall.
A source tells British newspaper The Sun, "Producers had wanted to shoot certain scenes but it proved difficult to fit them around Sienna's schedule. Now it won't make it to the big screen until 2010.
The film, based on the memoirs of Australian magazine editor Richard Neville, also stars Irish actor Cillian Murphy.
Desperate Housewives star Teri Hatcher was the big winner at British magazine
Glamour's Women of the Year Awards in London on June 7.
The 40-year-old beauty was given the Editor's Special Award for her talent to
combine motherhood, and a career while looking glamorous at the same time, as
well as US TV Actress of the Year for her portrayal as single mother Susan
Mayer in the hit show.
Accepting the award, Hatcher confessed, "I flew in today from California. I'm
red-eyed, tired and drunk...I hope I inspire women to believe just how much can change in just one
Oscar-nominee Sophie Okonedo was another celebrity who had been enjoying the
free champagne on offer at the star-studded bash in Berkeley Square Gardens.
As she accepted her trophy for Film Actress of the Year for Hotel Rwanda, she
said, "I want to say something really witty, but I'm so drunk I don't know what
to say! And I've got to present an award later in the evening, oh s**t."
Triumphant Usher, who picked up Man of the Year, laughed, "Man, I love these
awards. You can say what you like."
Presenters at the ceremony, included The Backstreet Boys, Charlotte Church,
Jack Osbourne and Geri Halliwell.
The full list of winners are:
Editor's Special Award: Teri Hatcher
Amor Amor Woman of the Year: Rachel Stevens
Man of the Year: Usher
UK TV Actress of the Year: Patsy Kensit (Emmerdale)
US TV Actress of the Year: Teri Hatcher (Desperate Housewives)
Theatre Actress of the Year: Kim Cattrall (Whose Life Is It Anyway)
Film Actress of the Year: Sophie Okonedo (Hotel Rwanda)
Filmmaker of the Year: Beeban Kidron (Bridget Jones: The Edge of Reason)
TV Personality of the Year: Cat Deeley
Radio Personality of the Year: Jo Whiley
Newcomer of the Year: Mischa Barton (The O.C.)
Band of the Year: Destiny's Child
UK Solo Artist of the Year: Natasha Bedingfield
International Solo Artist of the Year: Gwen Stefani
Writer of the Year: J.K. Rowling
Entrepreneur of the Year: Elle Macpherson
Fashion Designer of the Year: Alice Temperley
Accessory Designer of the Year award: Tamara Mellon (Jimmy Choo)
Sportswoman of the Year: Kelly Holmes.
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The story arc of Bridget Jones Part Deux is identical to the first except for one little detail: Instead of trying to find a man Bridget Jones (Renee Zellweger) worries about losing the one she's got. She has already climbed her highest mountain and dreamed her impossible dream she has her soulmate Mark Darcy (Colin Firth) all wrapped up in a little bow and yet the movie keeps going. And going. In the short span of four weeks together Bridget and Darcy have already become the couple that don't speak. She stares at him while he sleeps. He chastises her for it grumpily she apologizes and then she freaks out thinking that he will break up with her. Rinse and repeat. His slinky secretary (Jacinda Barrett) flirts ominously. Bridget feeds her insecurities by stuffing her face drinking like a sailor and then slurring insults at whatever passing character will provide the maximum of shame and embarrassment. It's charming really. Hugh Grant rears his scaly head as former paramour Daniel Cleaver and a song and dance routine breaks out in a Thai prison. I wish I was kidding.
The massive appeal of the character from the books and the first film isn't that difficult to understand. Bridget isn't the smartest girl or the prettiest girl or the thinnest girl but she still wins Prince Charming. She's sweet though and she's funny and she offsets Darcy's stuffiness in a neatly symmetrical opposites attract way. But if the point of Bridget the First is finding the character's attractiveness within the point of the sequel is that Bridget is fat and stupid and the object of our ridicule.
Zellweger famously put 25 pounds back on to reprise the role but this time it seems closer to 50. Bridget's fat is zoomed in on enlarged jiggled fetishized and dragged through pig dung. And her unabashed quest to humiliate herself in public knows no bounds. None of this is exactly Zellweger's fault--the screenplay is terrible for starters--and yet all of it is. She decided to take on a sequel with a character that had absolutely nowhere to go and she doesn't muster the energy needed to save her this time. Even the acclaimed Oscar-nominated English accent sounds a little shaky.
Grant and Firth are caddishness and constipation personified but the stereotypes are way too easy. Firth's Darcy is depicted as a saint of course but one begins to wonder what sickness lurks within a man who watches idly as his girlfriend humiliates herself so brazenly. Grant's Cleaver with his thirst for random conquest is at least explainable. But Darcy seems to crave a woman who will need a quick hook at every social event and a bib at every restaurant. Maybe it's not the slinky secretary Bridget should be worried about it's the bag lady feeding the pigeons. On a positive note Jacinda Barrett is hands down the greatest actress who has ever emerged from MTV's The Real World.
Beeban Kidron who directed the hideous drag melodrama To Wong Foo Thanks for Everything Julie Newmar clearly doesn't get the Jones phenomenon. She ratchets up the camp factor well past tolerable pushes it into misguided slapstick and culminates in nails-to-the-chalkboard shrillness in the Thai prison. And making matters worse not a shred of effort appears to have been expended to make the whole undertaking any more original. Entire scenes are repeated from the first movie. The "Ugly Sweater" scene. The "Big Underwear" scene. The "Fight" scene. And so on. This isn't the first time a sequel has been a glorified remake; Desperado and Terminator 2 spring to mind. But at least those movies had some shred of ambition. Bridget Jones: The Edge of Reason aspires to nothing and succeeds handsomely.
Directed Renée Zellweger in "Bridget Jones: The Edge of Reason"
Ran away from home at age 17 (date approximate)
Traveled for two years before returning to England to study filmmaking
Worked as a stripper
Directed first feature film, "Vroom" (broadcast on Channel 4)
Worked for two years as assistant to Magnum photographer Eve Arnold
Directed "Used People," which starred Shirley MacLaine, Marcello Mastroianni and Kathy Bates
Made first fiction short, "Alex"
Began career as prize-winning photographer in her teens
Family friend gave her a camera to distract her during a lengthy recuperation from surgery at age 11 (date approximate)
Worked for British TV where she directed the documentary "The Global Gamble"
Directed first documentary film, "Carry Greenham Home" with Amanda Richardson while at film school
Directed the television movie "Cinderella," starring Kathleen Turner
Directed Wesley Snipes, Patrick Swayze and John Leguizamo in the comedy "To Wong Foo, Thanks for Everything! Julie Newmar"
Trained in the British TV industry, Beeban Kidron has come to specialize in modest, eccentric character- driven comedy-dramas, often dealing with relationships between women. A runaway at 17, she worked as a stripper before becoming a prize-winning photographer while still in her teens. Kidron began her filmmaking career helming a fiction short ("Alex" 1985) before co-directing (with Amanda Richardson) "Carry Greenham Home" (1984), a political documentary about a group of women encamped at the Greenham Nuclear Power Plant to promote nuclear disarmament. Kidron was so committed to this school project--she was attending England's National Film and Television School at the time--that she lived at the site herself for more than seven months. After another nonfiction project for TV, Kidron segued to long form fiction with "Vroom" (Channel 4, 1988), an affable English road movie set in the northern city of Lancashire which proved a hit at the 1988 London Film Festival.<p>Kidron gained international attention as the director of the BAFTA award-winning telefilm, "Oranges Are Not the Only Fruit" (BBC, 1990), based on Jeanette Winterson's novel about a young lesbian's coming of age in a fanatically Pentecostal household. The film won widespread acclaim on the festival circuit, particularly in several gay and lesbian themed festivals. Kidron's acclaimed comedy-drama, "Antonia & Jane" (1990)--her first to get released theatrically in the US--chronicled the long-sustained friendship of two very different women. Her first American feature was "Used People" (1992), an ensemble comedy-drama about a recently widowed Jewish woman (Shirley MacLaine) courted by an Italian stranger (Marcello Mastroianni) who claims to have been watching her from afar for many years. The film also featured strong supporting performances from Marcia Gay Harden, Kathy Bates, Jessica Tandy and Sylvia Sidney. Kidron next ventured to NYC's south Bronx for her return to nonfiction filmmaking. "Hookers, Hustlers, Pimps and Their Johns" aired to huge Christmas audiences on England's Channel 4.<p>Kidron's next feature generated reams of publicity long before it hit the screens. Promoted as an outrageous comedy boasting established he-men Wesley Snipes and Patrick Swayze and the ascendant John Leguizamo as drag queens stranded in the American mid-West, "To Wong Foo, Thanks for Everything, Julie Newmar" (1995) was actually a mild comic outing calculated to play to Middle American values and multiplexes. The director was in increasingly advanced stages of pregnancy during the extended shoot. The production only received insurance on the condition that executive producer Steven Spielberg commit to finishing helming chores should Kidron become otherwise engaged.
born October 27, 1994; father Spencer Style
National Film and Television School
Kidron was named after an Indian princess. She was 15-years-old before her father realized he had gotten the name wrong. (She pronounces it bee-BAN).
"To be a filmmaker is to be on the London underground and hear people having a raging argument about your film"--Beeban Kidron (July 17, 1990)
"The world is a very small place. I think there are only 12 relationships in the world and you keep on having them."--Beeban Kidron (quoted in Entertainment Weekly, November 15, 1991)