As a child, one of the most delightful formative figures in my early formative years was the character of Paddington Bear, the overly-polite anthropomorphic creation of Michael Bond that has been pleasing audiences for sixty years now with his bright red hat, blue duffle coat and penchant for marmalade sandwiches. Like many, I was skeptical when a live-action adaptation of the stories was set to be made, because there are rarely ever live-action adaptations of beloved stories that have turned out particularly good, especially when not featuring the involvement of the original creators themselves (one just needs to look at the ill-fated adaptation of Peter Rabbit that was released this year to understand exactly how such an adaptation can go so disastrously wrong when profit supercedes faithfulness to the source material). I was vehemently against the idea of a contemporary re-imagining of the Paddington stories based on the inconsistency that normally plagues these kinds of films, so you can imagine my utter surprise and extensive relief when I discovered that not only was Paul King’s adaptation one that remained faithful to the source material, but also a legitimately great film in its own right, and perhaps one of the greatest family films ever made. Paul King made a film that is as charming and delightful as its main character, and if you may allow me to be so bold as to make this assertion: Paddington is a film that is almost entirely perfect, without any significant flaws or shortcomings whatsoever. Brilliantly funny and profoundly moving, there are few films as amusing and magical as this, and my only regret is that I didn’t watch this film sooner.

Paddington serves to be an origin story of sorts for the titular character (voiced by Ben Whishaw), showing his departure from his home in Darkest Peru and his arrival in London as he goes in search of a home. He encounters the Brown family, led by the neurotic Henry Brown (Hugh Bonneville) and his wife, Mary (Sally Hawkins), who is much more invested in the idea of temporarily adopting this small bear and allowing him into their home until he manages to find a home of his own. However, the family soon finds themselves falling for this bear’s earnest charms, and Paddington himself seems to be able to acquire the sense of belonging that he yearned for, finding a home and a family to take care of him. However, lurking not too far in the distance is Millicent Clyde (Nicole Kidman), an emotionless museum curator and taxidermist, who feels the need to bring honor back on her disgraced family name after her father refused to harm one of Paddington’s breed for the sake of science. In between these major developments and storylines, Paddington undergoes a series of entertaining misadventures around London, always causing lovable trouble with his over-eager curiosity and infectious lust for life, as he learns about his environment in the hopes that he too can finally find his home in London, which is greatly aided by the Brown family, who cannot resist the wonderfully sweet bear and his jolly disposition.

It does not seem logical that such an endearing and charming film can exist, let alone one which is almost entirely void of flaws or inconsistencies. I have yet to see a film as heartfelt and whimsical as Paddington, which I am quite frankly shocked I did not watch earlier – there are few films I have watched recently that I adored as much as this, and what I truly appreciated more than anything else about Paddington was how it was so unassuming, intending to do nothing other than to amuse and entertain. It has a grounded, simplistic approach that places emphasis on the story rather than on being innovative or overly unique in terms of technical prowess or experimental storytelling. It is, for better or worse, a straightforward family comedy, a traditional fish-out-of-water tale that just so happens to be one of the most endearing films of the past decade or so. It has a terrific execution that is always humble and never attempts to be anything other than a joyful expression of gleeful excitement and charming values. I often relish in seeing films that may not be particularly groundbreaking, but have a genuine heart and an attention to simply entertaining, they overcome traditional conventions and deliver something refreshingly captivating and endlessly appealing. Paddington is one such film, and its steady whimsy makes for a truly engaging and lovable experience, the likes of which are very rarely as perfect as they are here.

Paddington managed to assemble an impressive cast of performers, one that would exceed many expectations for an ensemble gathered for a film like this. The standout is obviously Ben Whishaw, who imbues the character of Paddington with such genuine sweetness and charm, it distracts from the fact that this character is the product of cinematic innovation rather than being a real bear. There have been a number of films that have blended live-action with animation before, but it has rarely been as effective as it was here, and the audience seems to almost forget the fact that this is a computer-generated figure rather than something tangible. This is based in part on the technical innovation that went into the making of this film, but also largely the result of Whishaw’s committed performance. While he obviously does not appear on screen, his vocal performance is delightful and contributes massively to the appeal of this character and the film as a whole. A voice-over performance is always far more than just being the recording of lines, and it takes a talented performer to breathe genuine personality into a character that is not actually present, and Whishaw rises to the occasion, conveying true pathos into every word, transcending boundaries and creating a fully-dimensional, meaningful character.

However, Paddington is far more than just its memorable titular character, as the ensemble is populated by some of the most wonderful performers imaginable. It is surprising that a film that could have been a dismal failure managed to allure some truly magnificent names into the fray, with their talents being welcome additions to an already terrific film. Hugh Bonneville and Sally Hawkins play the patriarch and matriarch of the Brown family respectively, and despite playing polar opposites, both actors have wonderful chemistry and have their own moments of endearing charm. Nicole Kidman gives one of her most deliciously wicked performances as the main antagonist, playing the character of Millicent Clyde as an unhinged, despicable but memorable character who does not necessarily cross the moral event horizon (even if she wants to inflict harm on the adorable Paddington), but she is a traditionally eccentric villain, and Kidman is at her best playing the role. Small performances from Imelda Staunton, Michael Gambon, Jim Broadbent and Peter Capaldi only increase the brilliance of the film, with the entire ensemble being void of a single weak link, everyone doing their best to create nuanced and interesting characters that are traditional but never archetypal or trite.

I pondered one important question since watching this film – what is it exactly that makes Paddington such an enjoyable, nearly-perfect film? Not only is it a well-made film with a terrific story and dedicated performances, but also a film that understands its audience and appeals to everyone, being a delight to any viewer, regardless of age. It has a genuine fun-loving spirit, which conceals a much more serious subject matter, as there is a message pertaining to the current immigration crisis that lurks beneath this film, but one that is in no way overt or even entirely obvious, but rather realized when one thinks about what this film was trying to say. Paddington is a film that has some important subject matter, such as that of acceptance and tolerance, and while I doubt this film was ever intended to be anything other than great fun, it is also one that makes profoundly noteworthy statements about society in a way that is subliminal but still very effective. Paddington preaches kindness, tolerance and spreads its infectious joy in a way that makes it one of the most authentically endearing films of the past few years.

There have been very few films that entertained me as much as Paddington did. Not many films can be as moving and enjoyable as this film, one that never fails to be a laugh-inducing, endearing experience that features one of the purest and lovable characters ever created, made with absolute sincerity and delicate care. Paddington is a carefully-crafted family masterpiece that may have an undercurrent of socially-aware commentary, but its primary intention is to be a well-meaning, charming little film about tolerance and kindness. There are many directions Paddington could’ve gone, but luckily it chose the right one, and the result is an earnest, sweet and utterly exquisite film that is perhaps one of the greatest family films ever made, a film that stays entirely faithful to its source material, in both story and tone. Paddington may be a lightweight film, but it is essential and wonderful in every way, and I cannot recommend this film enough. It is truly something magical, and a film that wants nothing more than to be a joyful expression of unrestrained happiness and whimsy, which it achieves swimmingly.