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Assail a colorful Greek isle, the plot serves every bit a background for a wealth of ABBA songs. A young adult female well-nigh to be married discovers that any one of three men could be her male parent. She invites all three to the wedding without telling her female parent, Donna Sheridan (Meryl Streep), who was once the lead singer of Donna and the Dynamos. In the meantime, Donna has invited her back-upwards singers, Rosie Mulligan (Matriarch 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 i tin can sing or dance?

Armed with irresistible hooks, soaring melodies and near-celestial vocal stylings, the Swedish pop grouping ABBA churned out a body of insanely catchy and superbly crafted tunes - "Waterloo," "SOS," "Fernando," "Dancing Queen," "The Winner Takes it All," etc. - that fabricated information technology the world's peak-selling musical human action of the 1970'due south and early on 1980's. Several decades afterward, ABBA'southward music became the basis for a hit phase musical entitled "Mamma Mia!" in which a unproblematic narrative was deftly woven effectually many of the quartet's songs. Now, the much-ballyhooed pic version of "Mamma Mia!," written by Catherine Johnson and directed by Phyllida Lloyd, has arrived on the scene.

The story takes place on a cute Greek island where the never-married Donna (Meryl Streep) single-handedly runs a modest hotel for an e'er-thinning crowd of tourists. Her daughter, Sophie (the charming Amanda Seyfried), has never known who her real father is, mainly because Donna herself doesn't even know. With the assistance of her mother'south diary from xx years ago, Sophie narrows the candidates down to three (Pierce Brosnan, Colin Firth and Stellan Skarsgard), then secretly invites them to her hymeneals in the hope that she will be able to figure out which of them is her real father in time to have him accompany her down the aisle.

On stage, "Mamma Mia!" succeeded primarily because it was able to keep its wafer-thin storyline pocket-sized in calibration and life-sized in scope. Just diddled up to the magnified proportions of the big screen, the material 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 one and the aforementioned time. Moreover, the direction is clunky, the choreography abysmal (specially compared to what we were treated to in "Hairspray" just a yr ago), the photography either over or underexposed (depending on whether the scene is set up at night or during the day), and the singing not different what one might hear emanating from the local pub on an average karaoke-night.

In fact, there has always been an inherent problem built into "Mamma Mia!," which is that much of ABBA's amuse derives from the crystalline voices of its pb singers, Anni-Frid Lyngstad and Agnetha Faltskog. Take away those harmonies and at least a certain percentage of that amuse is lost. Now the flick version of "Mamma Mia!" comes along and merely compounds the problem by hiring big-proper noun actors rather than trained singers to somehow interpret the pieces for us. Indeed, this must be the but musical in motion-picture show history made up 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). I has to give Streep credibility points for at least trying to belt out the tunes, but her rendition of "The Winner Takes it All," which was the rafter-rattling showstopper in the stage version, falls apartment due not only to her ain inadequacies as a vocaliser but to the bad-mannered staging and foolish hand gestures she uses to accompany her singing (well-nigh equally if she were trying to act out the lyrics as she'southward singing them). Actually, I've never understood why anyone would purchase either the original bandage recording or the soundtrack to "Mamma Mia!" anyway when the existent thing is readily available and clearly far superior to any imitation.

All that being said, I am nevertheless inclined to at to the lowest degree one-half-heartedly recommend that people go to see this motion-picture show for a number of reasons. Offset, 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; 2d, because fifty-fifty though their singing leaves much to exist desired, Streep, Bosnan and Seyfried somehow make us care near the characters and the silly lilliputian predicament they're caught up in; and third, because there are a number of scenes that actually piece of work quite nicely, the best beingness when Donna sings the sweet mother'south lament "Slipping Through My Fingers" (a song conspicuously within Streep's limited vocal range) to her soon-to-be-wed daughter. Streep and Seyfried are both very moving and poignant non only in that detail scene just 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 tin merely hope that they volition employ "Mamma Mia!" as a springboard to sampling the real deal.

• Buddy-51
• Jul 19, 2008

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

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