Starring: Meryl Streep, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgaard and Amanda Seyfried
Director: Phyllida Lloyd
Rated: PG
MAMMA Mia, here we go again. The trouble is that Abba songs and their catchy tunes have been around for more than three decades and they have lodged securely (and are ready for replay) in the neural grooves of those of us who are not as young as we used to be.
The theatre musical that has been playing round the world for almost 10 years has reinforced their popularity and with some younger audiences as well.
Mamma Mia is one film that is definitely critic-proof. Fans will want to see (and hear) it, no matter what.
For those who detest Abba songs, nothing will get them to go to see it. Fair enough.
But what about those of us who are stranded somewhere along the love-hate continuum? Since this reviewer finds himself there, a few comments may be in order.
The plot has been concocted along the lines of the old Hollywood musicals like Singin’ in the Rain. The songs are there, so construct a story around them.
This one has the advantage of a Greek island setting which, of course, is very attractive.
But the plot is built around a fairly flimsy outline: young girl about to be married finds her mother’s diary and finds that she has three possible fathers so she invites them to come to the wedding; mother is furious; the three reminisce and …
One of the problems with the film is that it starts loudly with a gaggle-giggle (the bride and her friends), then increases to shriek level (mother and her “old” friends) and generally doesn’t back down.
A fellow-reviewer suggested that it is really like a pantomime with characters, dialogue, songs and costumes heightened accordingly.
It is, of course, fascinating to see Meryl Streep as Donna, the mother, and listening to her sing hits like Mamma Mia itself.
She has sung effectively in the past in Postcards from the Edge, Death Becomes Her and A Prairie Home Companion.
The three fathers are Pierce Brosnan, Colin Firth and Stellan Skarsgaard (keeping up the Swedish connection).
They seem to be enjoying themselves and doing a bit of singing – though Pierce Brosnan is no great shakes.
In an interview, Meryl Streep defended him by saying that his voice was something between Tom Waits and Joe Cocker.
Amanda Seyfried is very central to the proceedings as the daughter but Dominic Cooper as her fiance does not really persuade us that he likes her let alone loves her.
Christine Baranski is very good as one of Donna’s buddies and fits into the proceedings perfectly and humorously.
But Julie Walters as Donna’s other friend is so hyper-hyper that she needs hosing down or should have taken a lot of tranquilisers before she came on set.
Two spoilers which fans may actually appreciate.
Fernando is not in the film and, for those waiting for Waterloo to turn up, don’t despair, it does get a finale with the main cast wearing all those 1970s bright costumes and flares.
There is a lot of exuberant choreography. The whole thing is rather camp in visuals and style. But, at the end, fans are going to enjoy their favourite songs in a colourful musical.
