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Attack a colorful Greek island, the plot serves every bit a background for a wealth of ABBA songs. A young woman about to exist married discovers that any one of three men could be her father. She invites all iii to the wedding without telling her mother, Donna Sheridan (Meryl Streep), who was one time the lead vocalist of Donna and the Dynamos. In the meantime, Donna has invited her back-up singers, Rosie Mulligan (Dame Julie Walters) and Tanya Wilkinson (Christine Baranski). —jojo.acapulco@gmail.com

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5/ 10

Whose idea was it to make a musical where no one can sing or trip the light fantastic?

Armed with irresistible hooks, soaring melodies and nigh-celestial vocal stylings, the Swedish pop group ABBA churned out a body of insanely catchy and superbly crafted tunes - "Waterloo," "SOS," "Fernando," "Dancing Queen," "The Winner Takes it All," etc. - that made information technology the earth'south superlative-selling musical act of the 1970's and early 1980'south. Several decades later, ABBA'south music became the footing for a hit stage musical entitled "Mamma Mia!" in which a simple narrative was deftly woven effectually many of the quartet's songs. Now, the much-ballyhooed movie version of "Mamma Mia!," written past Catherine Johnson and directed by Phyllida Lloyd, has arrived on the scene.

The story takes place on a beautiful Greek island where the never-married Donna (Meryl Streep) single-handedly runs a modest hotel for an ever-thinning crowd of tourists. Her girl, Sophie (the charming Amanda Seyfried), has never known who her real father is, mainly because Donna herself doesn't fifty-fifty know. With the help of her mother's diary from xx years ago, Sophie narrows the candidates downwards to three (Pierce Brosnan, Colin Firth and Stellan Skarsgard), and so secretly invites them to her wedding in the hope that she will be able to effigy out which of them is her real begetter in fourth dimension to accept him accompany her downwardly the aisle.

On stage, "Mamma Mia!" succeeded primarily because information technology was able to keep its wafer-thin storyline modest in scale and life-sized in scope. But diddled upwardly to the magnified proportions of the big screen, the fabric becomes a compendium of overacting (Julie Walters being the most egregious culprit in that regard), ham-handed literalization, forced spontaneity, and production values that look both gaudy and chintzy at ane and the aforementioned time. Moreover, the direction is clunky, the choreography abysmal (particularly compared to what we were treated to in "Hairspray" just a year ago), the photography either over or underexposed (depending on whether the scene is prepare at night or during the day), and the singing not unlike what one might hear emanating from the local pub on an boilerplate karaoke-night.

In fact, there has always been an inherent problem built into "Mamma Mia!," which is that much of ABBA's charm derives from the crystalline voices of its atomic number 82 singers, Anni-Frid Lyngstad and Agnetha Faltskog. Have away those harmonies and at to the lowest degree a sure per centum of that charm is lost. Now the picture show version of "Mamma Mia!" comes along and simply compounds the problem by hiring big-name actors rather than trained singers to somehow interpret the pieces for us. Indeed, this must be the only musical in moving picture history fabricated upwardly almost entirely of people who can't sing (at least in the old days they used to dub the voices in if they had to). 1 has to give Streep brownie points for at least trying to belt out the tunes, but her rendition of "The Winner Takes information technology All," which was the rafter-rattling showstopper in the stage version, falls flat due non but to her own inadequacies as a vocaliser but to the bad-mannered staging and foolish mitt gestures she uses to back-trail her singing (virtually as if she were trying to act out the lyrics as she'southward singing them). Actually, I've never understood why anyone would buy either the original cast recording or the soundtrack to "Mamma Mia!" anyway when the real thing is readily bachelor and clearly far superior to any simulated.

All that being said, I am withal inclined to at least half-heartedly recommend that people go to come across this movie for a number of reasons. First, because the music itself (written by Benny Anderson and Bjorn Ulvaeus) is fun, infectious and finally irresistible, no matter how much the singers may be unintentionally stomping all over it; second, because even though their singing leaves much to exist desired, Streep, Bosnan and Seyfried somehow make us care about the characters and the silly piddling predicament they're caught up in; and third, because there are a number of scenes that really work quite nicely, the all-time existence when Donna sings the sweet female parent's complaining "Slipping Through My Fingers" (a song clearly inside Streep's limited vocal range) to her soonhoped-for-midweek daughter. Streep and Seyfried are both very moving and poignant not only in that detail scene merely in all of the scenes in which they appear together.

For the half dozen or so audience members who aren't already familiar with the ABBA oeuvre, one can just hope that they will apply "Mamma Mia!" as a springboard to sampling the real deal.

• Buddy-51
• Jul 19, 2008

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By what proper noun was Mamma Mia! (2008) officially released in Canada in French?

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Source: https://www.imdb.com/title/tt0795421/

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