He’s putting on full Broadway-level productions. We come to find out in the closing credits-through a musical number that asks the question, what if The Producers’ “Keep It Gay” and “Prisoners of Love” had a baby-that Buchanan adores life in prison. Because its a kids movie, though, he ultimately gets his comeuppance and goes to prison, but it doesn’t end there. He commits multiple robberies, destroys priceless artifacts, defaces property, and perjures himself. Perhaps the most notable example of the prison industrial complex successfully rehabbing a person’s despicable behavior is Hugh Grant’s costume-loving villain, Phoenix Buchanan.Īs the film’s plot presses forward, all hope of Buchanan seeming like a redeemable character fade from possibility. Key prisoners like Knuckles go on to receive pardons for their crimes and he, in particular, even achieves massive success with a new baking business. Better quality food led to happier inmates and previously unreached levels of camaraderie. By Paddington 2′s end, everyone in the film is better off than where they started. That little act of prison reform ultimately creates a domino effect of positivity with ripples that can be felt for nearly every character in the film, especially the inmates. Not only does he succeed in winning over Knuckles (through the power of a marmalade sandwich), but we see via montage how Paddington’s influence transforms the prison cafeteria from a Dickensian nightmare into a five-star Zagat eatery. Call it naivety or bravery, but he decides to try to appeal with Knuckles in the hopes that his pleas will yield a less mealy dish. One day Paddington grows disheartened and disgusted by the sight of his meal. Everyone fears him none dare converse with him… save for Paddington. Knuckles is renowned for his nazi-like rule over the kitchen and Oliver Twist-like obsession with serving the inmates gruel for every meal. Head chef, Knuckles, is one example of this enemy-turned-friend. In some cases, he makes friends of his enemies. He quickly makes enemies of a few inmates just by being his kind self. Clad in his new black and white striped attire, Paddington struggles to adapt to his new prison dwelling. This argument for prison reform first rears its head during the film’s second act as Paddington finds himself accused for a crime he didn’t commit and is sentenced to prison following the false testimony of his neighbor. From what I saw, I think a strong case could be made that director Paul King and co-writer Simon Farnaby actually made a film about the dire need for prison reform and how, with the right follow through, it could greatly improve inmates’ overall quality of life. During the screening I attended, I picked up on another message entirely. Heck, you could even read the film as a commentary on immigration and Brexit. It’s a film that believes actors are the worst people on earth. Examined from another angle, you’ve got a film about the power of kindness and truth as Paddington greatly improves the quality of life for those around him just by being his polite, earnest self. If you want to take the film at face value, it’s about one Peruvian bear’s quest to buy his Aunt Lucy the perfect gift for her 100th birthday. Paddington 2 is ostensibly about many things. If you happen to find yourself in a dark theater this weekend gazing up into the marmalade-infused Britishness of Paddington 2, there’s a decent chance you’ll find a deeper message here than the usual kid film fodder.
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