PADDINGTON IN PERU. The Road to El Marmolado [REVIEW]

“Paddington in Peru” begins with the exact same event that opened “Paddington 2”. While trying to pick a plump orange, the little bear falls into the water and is swept away by the Amazon’s rushing current. As he nears a waterfall, and it seems his fate is sealed, two elderly bears—Lucy and Pastuzo—rescue him from the river. The difference this time is that we see the events unfold from Paddington’s perspective, rather than Lucy and Pastuzo’s. This signals clearly from the creators: you’ll get the same, but also something new.

It’s been seven years since the premiere of “Paddington 2″—one of the greatest achievements in family cinema of all time. Much has changed since then. Most notably, the UK has left the European Union. While “Paddington in Peru” doesn’t comment on this event directly, it remains a film that is strongly and openly pro-immigrant. The British bear’s foreign roots take center stage. His journey to Peru is a return to the land of his childhood. Of course, the main goal is to find his missing Aunt Lucy. However, the trip also allows Paddington to better understand himself through the place he comes from.

The character, created nearly 70 years ago by Michael Bond, serves here as a one-bear cultural melting pot. Two forces clash within him: the DNA of a Peruvian and the upbringing of a Brit. This inner struggle is visually represented through mysterious visions filled with Incan iconography. Objects from his ancestral homeland speak to him: local statues, bracelets, ruins. At the same time, the most important item Paddington carries throughout his adventure—aside from a supply of marmalade sandwiches—is an umbrella, used alternately as a boat, parachute, and melee weapon. It’s hard to think of a more British accessory. “Paddington in Peru” openly celebrates cultural blending, portraying it as enriching for the individual and harmless to their integrity. Suffice it to say, in the post-credits scene, the titular hero invites his Peruvian relatives to London, where they all tour the capital loaded with “I Love London” souvenirs.

Yet, the greatest strength of “Paddington in Peru”, just like the earlier installments, lies in its slapstick humor. Pure joy comes from scenes like the one inspired by Werner Herzog’s “Fitzcarraldo”. As Paddington tries to control a runaway ship, he gets tangled in the intercom cable, dodges a rolling piano, and eventually gets stuck wedged in the ship’s wheel. In these moments, the bear feels like a modern incarnation of Charlie Chaplin or Buster Keaton—adorable and hilariously clumsy. In one of the best gags, the creators of “Paddington in Peru” reference a famous Keaton stunt from “Steamboat Bill, Jr.” (where a building wall collapses around him, narrowly missing). While Keaton nearly lost his life filming it, Paddington’s digital self, fortunately, faces no such risk.

The specter of change looms over “Paddington in Peru”, and not just because of the curious, inexplicable replacement of Sally Hawkins with Emily Mortimer. The series no longer has Paul King (arguably the most talented family film director in the world) at the helm. King is now tied to Warner Brothers, working on the “Wonka” sequel. The directing duties have passed to newcomer Dougal Wilson, known primarily for his success in commercials and music videos. This change has inevitably affected the film’s quality. Wilson proves himself competent, but lacks the visual imagination and narrative finesse of his predecessor. The elaborate framing that evoked the style of Wes Anderson’s films is absent, and while there’s still plenty of absurd humor, there’s slightly less of it than in “Paddington 2”, which everyone—young and old—adored.

Thinking back to King’s 2017 masterpiece, one can’t help but recall a scene from “The Unbearable Weight of Massive Talent”. Nicolas Cage presses Pedro Pascal’s character to name his favorite films of all time. Before listing the third title, Pascal’s character pauses and finally declares: “Paddington 2”. Cage reacts with disbelief and amusement: “I don’t mean to be a snob, but “The Cabinet of Dr. Caligari” and “Paddington 2″? What do they have in common?” To which Pascal’s character solemnly replies: “”Paddington 2” made me want to be a better man.” After a cut, we see Cage’s character weeping uncontrollably while watching the ending of King’s (masterpiece).

With a bit of goodwill, “Paddington in Peru” can also bring a tear to your eye, especially during its genuinely moving, albeit slightly stretched, finale. It remains funny and emotional, with the CGI bear as charming as ever, supported by a stellar cast (Antonio Banderas, Olivia Colman). However, it’s unlikely to appear on any “all-time favorite” film lists. Like a well-mannered youth, it will always yield its place to its elder kin.