Despite being written a quarter-century ago, Richard Curtis’s script is in many ways the more modern
I FEEL IT in my fingers, I feel it in my toes. From the opening moments of “Four Weddings and a Funeral”, it is obvious that this series—based on the film of the same name by Richard Curtis, released in 1994—is less a blissful renewal of vows, more grounds for divorce. References to the original abound, from the very sweary first scene to the soundtrack and even a cameo by Andie MacDowell , but it is all somehow off-key, with some vital element lost in translation. And so the feeling grows.
Unfortunately, nobody seems to have bothered to find out what Brits do, or sound like. So the script gives us Gemma , an absurdly plummy woman who thinks cartoons are “films made of drawings”, has a father-in-law who eats “boiled beef” for supper and whose husband supposedly falls asleep in shrubs when he is drunk because “it reminds him of his childhood in Keen-ya”. You begin to wonder whether this is a prequel.
Despite being written a quarter-century ago, Mr Curtis’s script is in many ways the more modern. This series makes gimmicky references to Instagram influencers and “Love Chalet” , but there is no attempt to explore, say, internet-dating culture, transgender love or polyamory. Some of its humour feels regressive. Much is made of the chaperones accompanying two young Muslims on dates before a potential arranged marriage .
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