Film genres previously thought dead keep popping up now and then to remind us of their viability. Movies like “3:10 to Yuma,” “The Proposition” and “Open Range” keep alive the Western; movies like “Chicago,” “Hairspray” and, now, “Mamma Mia!” refuse to let the musical perish without a fight. It’s a losing battle, though, because more powerful genres, like superhero movies and animated films, continue to take up real estate and edge older types of movies out.
The newest movie musical is “Mamma Mia!” based on the stage musical inspired by the songs of the Swedish pop group ABBA. The story of “Mamma Mia!” concerns soon-to-be-married Sophie Sheridan (Amanda Seyfried), a young, vivacious woman living on a Greek island with her mother Donna (Meryl Streep). When Sophie stumbles upon her mother’s diary, she learns she has three possible fathers. She then decides to invite all three to her wedding, under false pretenses, and predicts she will know her father when she sees him.
“Mamma Mia!” is a sweet, good-natured musical with several magnetic personalities and a handful of rousing song and dance numbers, but inconsistency keeps it from realizing its true potential. There is just not enough substance between the songs to keep it afloat.
The biggest treat in “Mamma Mia!” is Streep and her two best friends Tanya (Christine Baranski) and Rosie (Julie Walters). All three have known each other for years and have been there, in the good times and the bad times. They are wise, supportive, salty and sexy, all at once. Their song and dance numbers are especially emotive and dynamic, particularly “Dancing Queen” where Donna, Tanya and Rosie sing so proudly that they recruit a small army of women who leave their posts around the island to sing along.
The single greatest number is Streep’s show-stopping rendition of “The Winner Takes All,” a wounded and devastatingly honest performance by one of the most talented women in the movie business.
Equally fun are the three potential fathers in Sophie’s life, Bill (Stellan Skarsgård), Sam (Pierce Brosnan) and Harry (Colin Firth), all of whom throw themselves completely into the proceedings of “Mamma Mia!” It’s a real joy to see three accomplished actors, who have often played stone-faced serious men, act absolutely goofy, fumbling over their potential fatherhood. For a closer look at their goofiness, stay in the theater once the credits begin to roll.
Seyfried, who plays Sophie, is also compelling, with a huge, bright smile and a beautiful singing voice. Mostly known for her television work, Seyfried should be able to use “Mamma Mia!” as a launching pad for her film career.
The weakest element of “Mamma Mia!” is its direction; not surprising, because the film’s producers hired Phyllida Llyod, who directed the original London stage version of “Mamma Mia!” but who has no background in film. A lot of the awkwardness and uneasy transitions in the movie can be attributed to her lack of experience.
It’s difficult to dislike “Mamma Mia!” because the movie has such an optimistic attitude and relishes the simple, joyful moments in life. However, the movie is such an uncomfortable mix of good and bad that it finally settles on average. It’s a middle-of-the-road kind of musical, but one that has moments that are worth the price of admission.
** 1/2 out of ****
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