In order to understand and appreciate "Mamma Mia!" the movie, a brief history lesson is needed. The musical was originally based in the the West End in London, England, and inspired by the songs of Swedish pop group Abba. The film, and Broadway version before it, popularized a genre of theater called the jukebox musical; already released music is used as the score. It is against that backdrop we have this year´s entry into the movie musical, starring Meryl Streep, Pierce Brosnan and Colin Firth, among others.
Back in "the day," Donna (Streep) enjoyed the company of many men. Three, to be exact, within a span of a week or so. There was Harry (Firth), Bill (Stellan Skarsgard) and Sam (Brosnan)…all of whom could be the father of Donna´s daughter Sophie (Amanda Seyfried). Yet Sophie doesn´t know which one, so in true movie fashion, she secretly invites all three to her wedding. Strife-not to mention music-ensue.
There are two competing parts of me. The first wants to say "Mamma Mia!" is a fun, campy, welcoming production destined to be a "Pick Me Up" film. Each member of the cast in each frame of the film exudes an infectious playfulness and joy at simply being on the screen. Couple that attitude with toe tapping production numbers, the ABBA music catalogue and gorgeous scenery on two real life Greek islands.
The other part of me-the critic-feels compelled to point out just how…amateur the production feels. From the less-than-stellar direction to the sloppy screenplay determined to come in under two hours and poorly lit sets, I honestly don´t know which side is going to win out in the end.
I can´t figure out if director Phyllida Lloyd intentionally shoots nearly every scene in close-up for some thematic reason or she just doesn´t know any better. This is a musical, a lavish production set in a beautiful location. The shot selection and direction is as claustrophobic as it can get. She never opens the picture, letting it breath. Now, understand Lloyd also directed the stage version and this is only her second film credit. Some production numbers include long shots-which gives us a grander view of the characters.
Then there´s the acting. If the intent is to replicate a theater production where the actors need to be larger than life, then "Mamma Mia!" succeeds. If not, someone needed to tell Meryl Streep in particular to tone down a notch or two. Every action, every facial expression seems created to reach the people in the cheap seats. Christine Baranski, who usually crackles in over the top roles, is the worst offender, though the script doesn´t help her at all. She´s big and brash as one of Donna´s friends, yet annoying at times, too. Couple the overacting with the preponderance of close-ups and, well, problems ensue.
(About those sets: the song and dance parts of the film were apparently shot in England, in a studio, with artificial light. The natural look of the Greek islands isn´t reproduced in any way; the light is harsh and every scene over lit. It´s distracting, in a way.)
Despite those deficits-and an awkward jump in the storyline at the end-you can´t help but smile, laugh and enjoy the antics on screen when the actors so clearly do. Even when we know the machinations the plot is putting us through in order to get to the finale, it doesn´t honestly matter. There is a life to "Mamma Mia!" pouring out in all directions. Take the beginning of seminal ABBA hit "Dancing Queen." Streep, Baranski and Julie Walters act like three-years-old children by bouncing on a bed and exaggerating every movement while singing. The enjoyment of the actresses is evident not only in their smiles, but in the fact they´re willing to go so very far out on the proverbial ledge to get the scene in the can.
Early on, and through the first half of the film, Donna seems to forget her age, insisting on being a petulant teenager. She can´t handle seeing the three men of her life back at the hotel yet raised a daughter by herself on a tiny Greek island? Donna can´t or isn´t willing to treat Sophie with the respect of talking about her father…even though they have a close relationship? The way she bounces through the courtyard and avoids any sense of confrontation is maddeningly frustrating more often than not. And goes away shortly after "Dancing Queen."
That number is the turning point in the film, it seems. Before it, the theatrics are confined to small spaces, seemingly limiting the story. When Streep, Baranski and Walters (along with a whole musical troupe) run down the side of the mountain from the villa and onto a pier-as seen in the trailer-it proves the film itself is able to simply be more. Since "Dancing Queen" is arguably ABBA´s most well known song in America, it is the one the audience waits for; therefore, this is a perfect time for the style to evolve.
This is a charming movie due to the actors involved with the project. Streep may be first billed, but the emotional core of the story rests on Seyfried, a vet of numerous TV shows and a couple movies. She brings the same spunk and tenderness to Sophie that Nikki Blonsky brought to Tracy Turnblad in "Hairspray" last year. A fresh face with a resemblance to Streep, Seyfried carries most of the drama by herself to solid effect. After all, the story revolves around her. If she had botched the part, then the entire movie would be on the line.
I´ve skirted around talking plot not in fear of spoiling the outcome, but because there isn´t a whole lot of plot to go around. What the stage production did was essentially take ABBA songs and create a film around them, linking them by the barest of plotlines. That´s an issue only because, in order for the ending to make any sense, certain other scenes need to take place beforehand. When you rely on a music catalogue to tell your story, the result gets dicey.
How do Sky and Sophie mend their fences after an argument? How do Daddy Harry and his new (male) island love meet? Where does the romance between Bill and Rosie (Walters) evolve from? Two of Sophie´s friends-Ali and Lisa-are integral to the beginning of the film and virtually disappear after the first twenty minutes. Something had to be cut from the final version which would have fleshed out these stories and, if not, its poor writing by Catherine Johnson (or the original writers).
Bah. The more you think about it, the more "Mamma Mia!" begins to show the chinks in its armor like those in Villa Donna´s courtyard. It is best to enjoy the production for what it is, not think about it too critically and just bop along with the music. It´s a 6 out of 10.