In this blog post, I will analyze how modern romantic comedies portray the contradictions of love, marriage, and patriarchy through the plot and characters of ‘Bridget Jones’s Diary’, and explore the direction Korean romantic comedies should take.

Introduction

We all want to live happily. While everyone’s definition of happiness may differ, in many cases its source lies in loving and being loved by others. In ancient times, romantic affection between men and women may have stemmed from biological reproductive instincts, but as the concept of “free love” took root during the modern era, love became a matter of personal choice and emotion. Consequently, the concerns of young men and women today have become even more complex and persistent.
In traditional societies, marriage was part of a social and economic act aimed at reproducing the labor force and expanding assets, rather than being driven by personal emotions. Unlike an era when “lifelong sexual relations” could be secured as long as the conditions were met, modern people must constantly explore, study, and strive to understand the opposite sex in order to find a life partner—that is, to reach the goal of “marriage.”
Romantic comedy is a genre that humorously depicts this power struggle and reconciliation between “men from Mars and women from Venus.” The phrase “power struggle between men and women” used here is based on the premise that both parties stand on equal footing in forming a relationship.
For a very long time, the Greeks have performed plays with plots in which love overcomes trials to achieve happiness. Much like spring arriving after a harsh winter, these plays had a strong ritualistic nature, celebrating the harmony of two opposing beings and praying for abundance and prosperity. However, the core of these plots typically centered on a man’s struggle to win a woman’s heart and overcome the obstacles in his path.
In the early 20th century, as many men were sent to the front lines during the war, women began entering the workforce and speaking out. This led to the emergence of stories driven solely by the conflict and reconciliation between characters—men and women on equal footing. This marked the beginning of the screwball comedy. Conflicts stemming from class and gender differences were resolved through sharp and witty dialogue, eliciting laughter from the audience. Notable examples include Frank Capra’s ‘It Happened One Night’ (1934) and Howard Hawks’ ‘Bringing Up Baby’ (1938).
However, screwball comedies began to decline after the 1940s. One analysis suggests this was because men returning from the war no longer wanted strong-willed, independent women. For some time afterward, female characters in films were reduced to a dichotomy of either innocent maidens or seductive temptresses.
Amid this climate, Rob Reiner’s ‘When Harry Met Sally’ (1988) paved the way for modern romantic comedies. This film, which candidly portrayed women’s self-awareness and inner struggles—as seen in the scene of a faked orgasm at a café—was a huge success, and the romantic comedy genre, featuring actresses such as Meg Ryan, Julia Roberts, and Cameron Diaz, established itself as a globally beloved genre.
The typical formula for a romantic comedy follows a pattern such as: “A chance encounter between two strangers → falling in love after arguments and reconciliations stemming from differing values → a breakup caused by a misunderstanding → a reunion after much deliberation.” While this formula is sometimes criticized as clichéd, busy modern people still turn to this genre seeking reassurance that the world is still a place worth living in.
Since Director Kwak Jae-yong’s ‘My Sassy Girl’ (1999), the Korean film industry has been churning out a variety of romantic comedies every year. However, many of these films—whether fantasy stories with a girlish sensibility based on online novels or those that force a melodramatic ending—have struggled to resonate with audiences. In this article, I will analyze Working Title Films’ ‘Bridget Jones’s Diary’ (1999) as a successful example of a romantic comedy and, through this analysis, explore potential directions for the future of Korean romantic comedies.

Plot Analysis of ‘Bridget Jones’s Diary’

‘Bridget Jones’s Diary’ faithfully follows the typical romantic comedy plot structure: “meeting → romance and conflict (obstacles, misunderstandings, etc.) → resolution of conflict and consummation of love.” This becomes clear when examining the specific plot developments below.
1. Mark and Bridget’s First Meeting: At a New Year’s party held at her parents’ house, Bridget meets Mark for the first time but does not feel particularly drawn to him. In fact, after overhearing Mark speaking ill of her, she resolves to quit drinking and smoking and to go on a wonderful date with the perfect man.
2. Dates with Daniel, Frequent Encounters with Mark: As Bridget transforms by focusing on her appearance, she begins dating Daniel, her boss at the publishing company. However, she frequently runs into Mark at their dates, and the dynamic between the three evolves into an ambiguous love triangle. Daniel makes remarks suggesting that Mark stole his ex-girlfriend, causing Bridget to misunderstand Mark.
3. Breakup with Daniel, Mark’s Confession: Heartbroken over Daniel’s infidelity, Bridget changes jobs. While struggling to find her footing at her new job at a TV station, she accidentally receives help from Mark and gains his recognition. Mark confesses that he has had feelings for Bridget all along, and their relationship gradually progresses.
4. Daniel and Mark’s Fight, Bridget’s Indecision, and Confirmation of Love: Daniel reappears, and the two men get into a heated fight. Unable to make up her mind, Bridget grows distant from Mark, but the misunderstanding is soon cleared up, and she realizes that Mark is the one who truly loves her. Ultimately, Bridget and Mark reaffirm their love for each other.
As can be seen from the plot outline above, ‘Bridget Jones’s Diary’ isn’t particularly innovative in terms of its plot. However, the film successfully meets the audience’s expectations and desires while fully capitalizing on the charm inherent in the romantic comedy genre.
What makes this film particularly relatable is that it captures the ideals and concerns modern women actually have about dating and marriage within the story. The dual nature of Bridget—the frustrations and dissatisfactions she experiences as an ordinary woman, alongside the dream she harbors in the back of her mind of “dating and marrying a wonderful man who recognizes her worth”—is naturally revealed through her character.
As a result, the film’s dramatic appeal stems from the series of mishaps and twists and turns that occur as Bridget and Mark meet and fall in love. At the same time, by realistically portraying the pressures and struggles faced by Bridget—an unmarried working woman in her 30s—from both her family and her workplace, the film broadens the audience’s sense of empathy. This is precisely why so many viewers were captivated by the candid thoughts and actions revealed in Bridget’s diary.
On the other hand, however, the film’s scope of expression stops there. In other words, it fails to delve deeply into the gap between the ideal and reality of romance and marriage, or into the problems of the patriarchal marriage ideology and patriarchal capitalism that surround them.
Several elements depicted in the film—the pressure from parents to marry, Bridget’s situation of being judged as a sexual object at work, Mark as the patriarchal ideal of masculinity, and her professional success achieved with Mark’s help—all reflect patriarchal values that are repeatedly reproduced within a vast social framework. Rather than openly criticizing these dominant values, the film merely presents them as they are.

Limitations of Genre Criticism and Expression

Genre films often struggle to escape criticism that they serve to legitimize dominant institutions and traditional values, and that their representational conventions contribute to the instillation of ideology. ‘Bridget Jones’s Diary’ is no exception. The limitations of expression inherent in genre films—which must resonate with audiences within the context of the era’s atmosphere and patriarchal culture—are also evident in this work.
Viewed in this context, ‘Bridget Jones’s Diary’, as a successful romantic comedy, shares certain aspects with screwball comedies in that it stands in contrast to progressive trends of the era. In other words, while the film exemplifies the archetype of the modern romantic comedy, it also fully embodies the constraints that conservative cultural trends have imposed on its expression and discourse.

Character Analysis: A Comparison of the First and Second Films

Analysis Focused on the First Film

Bridget Jones, aged 32, is not a slim protagonist with beauty that everyone admires. She is portrayed as an ordinary woman—the kind you might see anywhere—someone who could be “me” or “you.” In terms of appearance, she goes beyond ordinary to be slightly plump, and she is also a chain-smoker and enjoys drinking. Because of this outward appearance, Bridget stands out from the typical romantic comedy heroine, and that’s what makes audiences feel a strong sense of connection with her. In a world where many modern women struggle with weight and appearance issues, Bridget may feel less like an idealized screen character and more like a reflection of who they are right now.
Although she defies conventional beauty standards, Bridget possesses her own unique charm. Her cute sense of humor and her confident demeanor at all times serve as her unique “sparkling charm.” And the fact that handsome men in the film fall for that charm reaffirms the tropes seen in other romantic comedies. In particular, Bridget’s confidence reflects the image of a modern woman who is more proactive and assertive in expressing her emotions and in her career. For example, this tendency is evident in the first film when, despite being hurt by Daniel’s brazen romantic games, she boldly leaves her old job to work as a unique TV reporter, as well as in scenes where she adorably expresses her love without worrying about what others think.
However, if we delve deeper into Bridget’s diary and daily life, we see that she is not merely a strong woman who speaks her mind. When it comes to love, she has many vulnerable sides. Her anxiety is evident—she constantly seeks reassurance even while being loved, and she is hurt by her own feelings for the womanizer Daniel. Scenes such as when she is deeply moved by Mark’s words, “I love you just the way you are,” and brags about it to her friends clearly show that she is a character who thirsts for love and whose emotions—both joy and sorrow—are driven entirely by it.
Daniel Cleaver appears as the quintessential charming womanizer. As Bridget’s boss, he sends her somewhat risqué and playful emails, sparking a series of playful romantic spats between them. He captures Bridget’s heart with his charm and wit, but eventually, his womanizing tendencies come to light, leading to conflict. At first glance, Daniel seems to treat love like a game, but there are hints that he harbors special feelings for Bridget in particular. For example, he shows up on her birthday to confess that he missed her and even gets into a fight with Mark—demonstrating that he cannot be dismissed as a simple villain.
Daniel possesses a dark sense of humor, a tendency to lie, and a flirtatious nature, but at the same time, he has the refined manners of a Cambridge elite and a witty way with words. Because of this complex personality, the audience cannot completely hate him, even when he hurts Bridget. In fact, Daniel’s flaws often serve to highlight his charm.
In contrast, Mark Darcy is portrayed from their very first meeting as someone who seems ill-suited for Bridget. At the turkey curry party, Mark wears a sweater featuring a reindeer—a character Bridget detests—and badmouths her, calling her a chain-smoker, a heavy drinker, and someone who dresses like an old lady. Their first encounter was far from a typical romantic encounter. Furthermore, there are differences in their social status and roles. While Bridget is an ordinary office worker or a novice TV reporter, Mark is a renowned human rights lawyer, demonstrating differences in both social standing and personality.
The differences between Mark and Bridget can be summarized along three axes. Differences in personality (Mark tends to think and speak carefully, while Bridget expresses her emotions immediately), differences in class and occupation (Mark is a lawyer; Bridget is an office worker or a novice reporter), and differences in temperament (Mark embodies the archetypal reserved and restrained man, while Bridget is the easily excitable and dramatic woman). These contrasts provide entertainment value for the audience.
Unlike Daniel, Mark is portrayed as a character who understands and accepts Bridget, and he also plays a role in providing her with practical help. As the lawyer in the Aghani Heeney case, he helps Bridget land a scoop and makes a decisive contribution to her growth as a journalist. In that it presents the archetypes of a generous, helpful man and a whiny woman who relies on his help, the first film can be said to embody conservative gender roles. Ultimately, Mark is portrayed as the ideal man; after a conflict with Daniel, he prevails, leading to his marriage to Bridget.

Analysis of the Sequel

The first film achieved great success by skillfully combining the classic elements of a romantic comedy. In contrast, the sequel failed to replicate that success; one reason for this is that elements which served as secondary plot devices in the first film took center stage in the sequel, overshadowing the narrative itself. Devices that were used in the first film to supplement scenes and provide comic relief were instead repeated prominently throughout the sequel, disrupting the flow of the story.
While the sequel also centers on the romantic tug-of-war between a man and a woman, the key difference is that it focuses on the jealousy and suspicion the protagonists—who are already a couple—experience as they maintain their relationship. In other words, the narrative shifted from one of pursuit and courtship to one of maintaining the relationship and dealing with anxiety. Like the first film, it featured familiar hit songs placed at just the right moments, and the costumes were adapted to suit each situation. While the first film relied heavily on revealing outfits in an effort to appear sexy, the sequel primarily used outfits that emphasized Bridget’s cute appearance now that she is already in a relationship.
Additionally, popular elements from the first film—such as the duel scene between Mark and Daniel over Bridget—are faithfully recreated in the sequel.
The rivalry between two men over one woman is a romantic fantasy that many women dream of, which is why it has continued to be a key element of the series’ appeal. However, in the sequel, these elements do not blend well enough with the narrative, and the excessive number of added subplots ends up disrupting the natural flow expected of a romantic comedy.
Although Bridget is still portrayed as a chubby, clumsy character in the sequel, the excessive proliferation of cinematic fantasy elements made it difficult for audiences to identify with her as they did in the first film. In particular, the episodes set in Phuket, Thailand—which took up a significant portion of the film under the guise of personal growth through international experiences—served to diminish the film’s realism. Consequently, even though it was the same character, audiences perceived her as less relatable than before.

Scenes and Genre Appropriateness

The film utilized the wide beaches and laid-back resorts of Phuket, Thailand, to present a setting that contrasts with the everyday scenery of London. It showcased vibrant visuals to realistically convey an exotic atmosphere, but these scenes feel more suited to a fantasy adventure than a romantic comedy.
The episode where she is imprisoned in a Thai prison appears intended to highlight Bridget’s fun and quirky character by showing her getting along well with the other women in prison rather than becoming discouraged. However, this scene is easily perceived as a contrived plot device added merely to pad the story, rather than as a means to reveal the character’s depth.
The scenes at the ski resort in Austria and the paragliding sequence via helicopter also feel more like a series of disconnected episodes rather than elements that reinforce the main narrative. As a result, due to this episodic structure, ‘Bridget Jones: The Edge of Reason’ fails to fully meet the expectations of audiences who were anticipating a romantic comedy, leaving an impression closer to that of a superficial comedy.

The Archetype of the Romantic Comedy and the Place of ‘Bridget Jones’

Romantic comedies can generally be viewed as a genre that cheerfully depicts the process of “a man and a woman meeting → falling in love → breaking up due to misunderstandings → reuniting and consummating their love.” This formula serves as the core narrative structure defining the genre, providing the emotional tone and plot progression that audiences expect from it.
‘Bridget Jones’s Diary’ faithfully follows this genre formula and can be classified as a quintessential example of the genre. However, the first film and its sequel differ in their approach: the first film successfully captured the essence of the romantic comedy formula with a relatively realistic touch, resonating with audiences, while the sequel, by incorporating many episodic elements, sometimes deviated from the genre’s expectations.

The Pros and Cons of Genre Films

A genre is a classification system that groups and distinguishes similar types of films, and a genre film is one that follows the formula dictated by that classification. The reason genre films are repeatedly produced in commercial cinema is that, despite their drawbacks, their advantages outweigh them.
First, a drawback of genre films is that they can bore audiences. For example, since the formula for romantic comedies is repeated regardless of the specific film, audiences who feel the ending is predictable may lose interest, and as a result, the film may fail at the box office.
Another drawback is the risk of stifling the creator’s creativity. If screenwriters or directors become too accustomed to strictly following genre formulas, they may become complacent rather than attempting to explore original and innovative ideas. If this happens, the genre itself can become stale, making it difficult to produce original works.
On the other hand, the advantages of genre films are clear. First, they offer a sense of familiarity to audiences. Films that follow established formulas make it clear to viewers what emotions and experiences to expect, allowing them to enjoy the film comfortably. While films that completely break the mold can offer a sense of novelty, they can sometimes leave audiences bewildered or hinder their immersion.
Furthermore, genre films guarantee a certain level of audience loyalty. From a commercial standpoint, works that do not stray too far from the genre’s framework offer producers and distributors the potential for stable profits. As long as they aren’t overly clichéd, genre films can be a practical choice from a box office perspective.
For these reasons, genre films continue to be produced. “Bridget Jones’s Diary” also garnered audience approval by following genre conventions while skillfully blending fresh episodes and dramatic elements. In particular, the first film succeeded in drawing in audiences by portraying a romantic comedy with a more realistic touch than its sequels.

Recent Trends in Korean Romantic Comedies

Recently, Korean romantic comedies have exhibited two major trends. The first is a fantastical tendency that is somewhat detached from reality. This trend became prominent after ‘My Sassy Girl’, as many films based on web novels began to be produced. Romantic comedies based on web novels often depict the fanciful stories that young girls dream of, making it difficult for them to resonate with reality.
As time passed and the initial novelty wore off, the artistic merit of this genre began to face criticism. For example, works like ‘My Love, You’re So Rude’ received negative reviews as “movies best enjoyed with an empty mind” due to their formulaic narratives and lack of distinctive character development. However, romantic comedies based on web novels still have ample potential for growth if they incorporate appropriate elements of realism and involve writers with diverse sensibilities.
The second trend is a blend with melodrama—the so-called “melodrama mishmash.” While a feisty female character may be developed in an intriguing way early on, there are cases where, toward the end of the film, this character is ultimately revealed to be “actually a kind and pure-hearted woman,” which halves the tension and enjoyment of the story. This raises the question of whether this is a narrative compromise reflecting audience preferences or simply a repetition of traditional expectations regarding female characters.
Moving forward, Korean romantic comedies need to maintain the genre’s underlying structure while diversifying its surface-level elements to provide audiences with both freshness and satisfaction. To achieve this, creators must go beyond relying solely on these two central axes and instead attempt to add new axes or experiment with diverse elements.
Above all, the emergence of female characters portrayed as individuals on an equal footing with men—rather than as the recurring “vulnerable woman”—is a fundamental task that must be accomplished. Korean romantic comedies will become richer when diverse narrative experiments are accompanied by reflection on character portrayal.

Conclusion

In conclusion, while the “Bridget Jones” series exemplifies the typical formula of romantic comedies, each installment reveals its own strengths and weaknesses. While the familiarity and predictability of the genre are clear strengths, the excessive repetition and superficial stringing together of episodes make it difficult to avoid criticism. Korean romantic comedies, too, need to preserve the core elements of the genre while offering audiences greater empathy and freshness through superficial variations and more diverse character portrayals.