Ugh, here we go again! A sequel/prequel to the fifth highest grossing film of 2008 is on our shores and with the success of the first ABBA inspired musical, I imagine this follow up will stay in those successful footsteps even if it is a lame rom-com story and does very little to dispel the notion that it’s a stonking great cash grab.
It’s been five years since Sophie’s (Amanda Seyfried) wedding and she’s now busy planning the reopening of her mum’s hotel. As the final preparations are under way, the story cuts back and forth between this and Donna (Lily James) back in 1979; just graduated and wanting to see the world. The film then follows her meeting Sophie’s trio of fathers and how her stay in Greece came to be.
Firstly, it’s not a major issue that the songs are relentless throughout but this musical almost shoehorns songs in that vaguely fit in with what’s going on during the narrative. I was listening to lyrics and some just don’t coincide with what’s been or is happening at all. Secondly, the film only just kicks off and we’re right into a song, I know it’s a musical but there’s something about the ‘Mamma Mia’ landscape that serves up a cringe aspect alongside the jovial antics, extremely evident in the graduation sequence and the Waterloo themed restaurant.
This film feels like it was battering me over the head with song after Swedish created song, that by the end I was involved and part of the music. It’s as if I was bombarded to say Thank You for the Music because it was incessant. It may have been the broken will but I have to say that the glittery disco themed Super Trouper number was an enjoyable blast, Mamma Mia itself is a fun listen/watch and Angel Eyes is sold nicely thanks to the power of the actors behind the song.
Ol Parker’s screenplay from a story by him, Catherine Johnson and Richard Curtis is a loosely veiled attempt at tying two stories together. The plot doesn’t do much to really make you care for Donna, she just seems like a young gal gallivanting and exploring what our planet has to offer, though she seems to know she belongs in Greece after only going to visit Paris. The hotel re-opening is a flimsy excuse to get the sprawling cast back together but amongst the less than inspired writing there are some funny moments. A sassy Greek lady, a goat chase and the terrific double act of Julie Walters and Christine Baranski are great highlights.
Lily James is superb, she gives the background of Meryl Streep’s character such radiating presence. She may fall in and out of beds but she has such a bubbly performance throughout this film that you can’t help but like her and James’ infectious smile even made this cynical chap less so. Seyfried is a class act, she’s always reliable for musical features and her talented vocals do this film wonders amongst the likes of some less than gifted singers elsewhere in the cast. She manages to be expressive and likable in a role that sees her bridging gaps between the past and present. The ‘singing’ and dad-dancing of Colin Firth, Pierce Brosnan and Stellan Skarsgard is awkward but highly amusing. Cher rocks up like this wicked west persona; the helicopter and her introductory music add to this oncoming doom but she does little in the film and reveals a name before singing that song which is an eye roll AND sigh if ever there was one but it’s Cher, I can’t say anything bad, can I!?
This sun-drenched film arriving 10 years after the original didn’t need to arrive at all, it’s not a fascinating story and the cringe is most certainly real but it’s a carefree bop that knows what it is; a summery feel good distraction that will have die-hard ABBA fans singing in the cinemas and calling out for the inevitable singalong versions.