Paddington in Peru shows that it’s not the place that matters — it’s the people

British pop culture’s favourite well-mannered ursine, Paddington Brown, has become ever more beloved in recent years. Director Paul King’s 2014 and 2017 screen adaptations of the character, who first appeared in Michael Bond’s 1958 children’s book ‘A Bear Called Paddington’, proved instant family classics, with Paddington 2 at one point declared Rotten Tomatoes’ highest-rated film. My Letterboxd followers will know how many times I’ve logged that one; with the sweet tooth of a marmalade addict, I keep coming back for more. 

Living with the kindly Brown family in the picturesque London neighbourhood of Windsor Gardens, the young bear from Darkest Peru soon lodged himself in the hearts of several groups: fictional Londoners, whose lives he enters upon and brings joy to; children being read Bond’s magical stories by their parents; and now the cinema-goers of the past decade, enraptured by his quintessentially British, fish-out-of-water antics.

Paddington is a part of British culture as much as British culture informs the spirit of Paddington

For a marker of Paddington’s ‘keep calm and carry on’ sensibility, and his stature as a symbol of ‘Britishness’, look no further than his 2022 Platinum Jubilee segment opposite Her Late Majesty Queen Elizabeth II. Paddington’s tea and sandwich-sharing with the Queen was a moment for viewers to join him in saying, “thank you for everything, ma’am”. But little Paddington was and is just as deserving of our thanks. He feels like a universal family member and has taught us many valuable lessons. Paddington is a part of British culture as much as British culture informs the spirit of Paddington. It goes without saying, then — taking this national icon out of his adopted home for a third whimsical film was always going to raise eyebrows.

Peru is the setting for our loveable bear’s third adventure, which has finally touched down in the cinema. The prior news that Paul King wasn’t returning for the threequel (after having pranced off to a world of pure imagination to direct Timothée Chalamet’s Wonka) had already elicited hard stares from loyal Paddington fans. For Paddington in Peru, debutant director Dougal Wilson took on the marmalade mantle, with a resumé largely composed of John Lewis Christmas adverts — so they kept saying. However, with the film finally in theatres and soon to find its way into living rooms, fans evidently had nothing to be afraid of. Part three is full of the creative flourishes and heart which characterised the London-set films of the 2010s.

The Brown family’s excursion to South America is prompted by a letter Paddington receives from Olivia Colman’s Reverend Mother, telling Paddington that his beloved Aunt Lucy is acting strange at the Home for Retired Bears. When she vanishes under ‘suspicious’ circumstances from the retirement village, it’s up to Paddington and his newfound family to find her and bring her home. Cue an entertaining adventure romp which harks back to Indiana Jones, The Adventures of Tintin and… The Sound of Music.

Plot-wise, the familiar Paul King and Simon Farnaby story input is gratifyingly present. Yes, it’s true that we lose the familiar British locations and some of the London cast, but much of the comedy easily translates to the jungles of Darkest Peru. The series callbacks are witty and emotionally fulfilling, which is only natural given this film’s decade-long build-up. 

Come the end of the film, you’ll realise how much you’ve grown to love the Brown family, Paddington included, sharing in their happiness and sadness across three films. The Brown children, Judy and Jonathan, have really sprouted up since the 2014 film, with Judy now preparing for university and Jonathan (the typical teenage recluse) now occupied with “chillin’”. The kids are walking evidence of just how long it’s been since a young Paddington was first “lost and found” at Paddington Station.  

The changing family dynamic, including Judy’s imminent flying of the nest, reflects how these films’ messages have grown and evolved with their original audience. Mrs. Brown, in a poignant scene, yearns for the empty family sofa to be filled with laughter once more. There is thus something familiar for all ages to latch onto as they join the Brown family unit in venturing through the vines and undergrowth of Peru.  

Adapting a children’s character provides a truly wonderful playground for filmmaking invention and experimentation.

King’s directorial absence may be felt during the by-the-books jungle-trotting bulk of the film; its familiar story path is only improved by the brilliant characters treading it. This one also lacks the Wes Anderson-esque perfectionism which King brought to the previous films, even if visual creativity does seep into the storytelling from time to time. Regardless, Dougal Wilson (who clearly shares King’s love for the iconic character) provides enough whimsy and clever humour to satiate all-age audiences and keep the journey fresh as unopened marmalade at all times. Adapting a children’s character provides a truly wonderful playground for filmmaking invention and experimentation.

The ensemble cast, as ever, are a delight. Having played their roles for ten years now, the Brown family players are clearly at home in the world of Michael Bond’s imagination. During the film’s surprisingly emotional climax, one begins to sense that they aren’t even acting. Character and actor have become one and the same through love for the source material. Hugh Bonneville, for example, is Mr. Brown. New addition Emily Mortimer, tasked with replacing the departing Sally Hawkins’ irreplaceably sweet role of Mrs. Brown, fits this film like a glove, bringing with her the quirky and gentle nature of Hawkins without feeling like an impersonation. The personnel change, retconned flashbacks included, didn’t bother me at all. I was just happy to spend some time with the Browns again.

The Paddington world’s other newcomers, Olivia Colman and Antonio Banderas, both have a blast here. I always find Colman’s goofy and toothy grin hilarious, and she really channels her Fräulein Maria or Mother Abbess spirit here, particularly in a song-and-dance number she is given. Paddington’s cartoonish supporting cast always provides laughter in spades — a character gallery in the spirit of the classic comedies. The title character himself looks more real than ever thanks to CGI advancements (and expectedly so when it’s seven years after Paddington 2), making his larger-than-life impact on those around him even more tangible. “When skies are grey, hope is the way”, affirms Ben Whishaw’s soothingly-voiced Paddington, recalling another of his aunt’s pearls of wisdom. We should all try and emulate his approach to life. As Paddington proves, optimism can be contagious.

Another small touch I enjoyed was not being 100% certain from the start who the villain was. Nicole Kidman, Hugh Grant and (insert famous actor’s name here) have all perfectly discovered their evil side through these films. I’ll disclose no more…   

Keeping this spoiler-free, the denouement is quite probably the most emotionally intelligent of the entire trilogy. On my first watch, it even made me shed a few tears, which is a worryingly rare occurrence for me; one drop from each eye, I recall. But I think that’s natural when such unbounded love has been poured into telling these stories for such a long time. The cultural impact of ‘Whishaw Paddington’, from TV adverts to Platinum Jubilee segments, has only deepened its value to us Brits in the intervening years. And, after watching it, I’m pretty sure that the ending will change the way I appreciate his first two adventures. It’s that kind of sequel that thoughtfully builds upon its predecessors, stretching in both temporal directions for an unexpectedly moving story exploring Paddington’s mysterious origins. 

This new chapter of the family film genre’s greatest treasure was an absolute joy — and it may just make you cry too.

To tell the truth, I was nervous about the critical reception Paddington in Peru would receive. Many slightly disappointed reviews addressed the author’s regret at taking Paddington abroad and thus losing the ‘British charm’ which defined the first two films. After seeing it for myself, in packed cinemas representing every demographic, I think those criticisms are missing the point. If I were to channel my inner Paddington, I’d suggest that it’s not the place that matters, but the people. Seeing the Browns, of all species, together once more was enough for me. This new chapter of the family film genre’s greatest treasure was an absolute joy — and it may just make you cry too. As Fräulein Maria might’ve sung in The Sound of Music, the cinema was alive with the sound of sniffling.