Mamma Mia!

Mamma Mia! Does the mention of anything Abba-ish send you cringing to a corner? Or are you already joining in and dancing on the tabletops? Maybe another few drinks . . .

In short, if you are not allergic to Abba, book your tickets now. If you are, why would you be reading this? At a pinch, it is worth seeing for Meryl Streep alone, who not only throws herself headlong into every refrain with unashamed gusto, but adds a touch of class and nuance to what otherwise could be a one-dimensional adaptation. Streep vacillates engagingly between playing herself and not taking herself too seriously. Pierce Brosnan just about keeps up, and manages more expressions than he ever did as James Bond. Colin Firth and Julie Waters trail behind somewhat. Yet Mama Mia! is a roller coaster of emotion, careering colourfully from the blue waters of the Adriatic, bursting 'like Aphrodite's Fountain' into the lives of Donna (Meryl) , her lovers and friends, and her soon-to-be-wed daughter. It is the party spirit that says kick your shoes off and sing silly cheesy songs. Altogether now.

And yes – there's a story. Donna's daughter Sophie is getting married. To the buff-looking Sky. Only – where's her dad? She's never met him. A sneak-peek at Mom's diary shows Mom had three lovers before Sophie was born and Sophie secretly invites all of them. This is a film of threesomes. Three past lovers (Sam, Bill and Harry). Three close friends (Donna and two best pals). And, not to be outdone, Sophie meets up with two other young girls at the start of the film.

The breakneck pace still allows for brilliantly put together shots. Like Streep doing a 'Titanic' with drapes blowing in the wind. Or a pier-load of young hunky stag night crew doing a dance in trunks and deep-dive flippers. Moonlit boats and beaches to "I Have a Dream." Filmed on location, the views won't disappoint. And like a favourite song whose ending we know, the drama is in the details and execution.

As with many adapted-from-stage musicals, two young leads are played by talented singers, and the older parts by serious actors can sing well enough. Streep manages extremely well. Her performance is so professional and assured it leaves others standing. Fortunately, it is perhaps easy to paper over any cracks in musical comedy. Sweeney Todd relied heavily on Depp's charisma and stunning cinematography. Across the Universe, too heavily on the songs. Mamma Mia!, on the other hand, simply tailors everything to its joyous headlong rush. The songs fit naturally to the action. Streep even manages to sing them with her tongue firmly in cheek. She confesses to having been a "stupid reckless little slut" but then says she "grew up". (To which her pals chime in, "Well grow back down again!") The film is not without faults. There is a notable lack of chemistry between the people that throw themselves rapturously against each others' faces. Even Streep looks less than convincing in a brief lips-mash. And the men are a bit croaky in the singing department (Hugh Grant might even have been a preferable casting choice). And some of the time-line is wobbly. For instance, strange as it may seem, music from more than twenty years ago does not all come from the same era. So reminiscing about flower power (early sixties) in the same breath as a Johnny Rotten t-shirt (Sex Pistols, mid-late seventies) is either anachronistic or wishful thinking.

Sadly, I am of a generation that can remember Abba-mania. The records would shoot to number one. Yet even then few people would admit to buying them. I used to manage a night club, and Abba was great music to ask a girl up to dance. My entire chat-up repertoire at that time consisted of, "Would you like to dance?" and "Do you want to come back for a coffee?" But girls would be so happy dancing to Mamma Mia they'd say yes anyway. I'd fall in love with a new girl each week. Ah, those were the days! Now there's a new generation of Abba fans who have no need to 'come out of a closet'. Abba is retro-chique. Even Madonna segued an Abba riff into one of her songs. From karaoke to hen nights. From '70s' nights to gay dance-floors. Dress up. Camp it up. Sing it up. Get sassy and cheesy. Or, if you're old enough to remember, fly back in time to wonderful memories.

Mamma Mia!, whatever detractors might say, has been one of the most successful stage shows of recent times. Supported by the same director and original band members, the movie may well reach the similar fan bases. Or just the party spirit in all of us.

This movie is two hours of music and happiness. This movie is an easy 11/10 method of being happy and one of my all time favourites. There is no ingenious plot or thought provoking question, and that's fine. Just sing along and enjoy.

I didn't use to like this movie, but as I got older I started to love the movie more. It's definitely a cheesy movie and far from perfect, but it's a fun watch with catchy songs (duh, it's ABBA). It's not too long nor too short, so it's a perfect movie to watch when you're feeling down or to watch with friends on a movie-night.

I did enjoy this romp in the Greek Islands and was surprised at how well Meryl Streep sang. It's light, full of froth and bubble and perhaps has some aspects of Grease and Bollywood in it. The reason the music works I feel is that they haven't really messed with the arrangements of the songs keeping them generally faithful to the Abba originals. But Pierce Brosnan's vocal efforts were abysmal, almost laughable. Perhaps it was meant to be a send up of the original songs all the way through but he really did manage to mangle the vocals in my opinion. If you have seen the musical on stage you will know what to expect and there are some funny moments in the film and the Greek islands are as always a superb backdrop for the action.

Having read Anthony Lane's review of Mamma Mia for the New Yorker, I approached this film with appropriately low expectations. I knew everyone was going to have orange skin. I knew the actors would not be doing very graceful or interesting things while they sang. I knew the film was just a vehicle for ABBA songs, which meant that it was going to have a thin, contrived plot--and that was fine with me. Like virtually every other viewer who has chipped in to the financial success of this film and the Broadway musical it was based on, I was only watching it for the ABBA anyway. It would be nostalgic, it would be peppy, it would be fun. I'd get to enjoy the pleasure of anticipation--"Oh, I know what song is coming here!"--or, alternatively, the laughter of surprised recognition when the actors launched into a song I hadn't seen coming.

In the end, I didn't even get that. It was clear within five minutes that this film was going to be excruciatingly overacted. The loud cackling laughter, the slapstick, the spastic dancing, the needless acrobatics (hanging and falling off of roofs). Certain leading actors' inability to sing, which made it hard to enjoy the music. I give the creators credit for incorporating songs into the storyline in, let's say moderately clever ways. But watching how poorly acted and choreographed this movie was, I thought: Is the problem that the people making this film are too embarrassed by the silliness of the premise to take it seriously enough to make it good? You can know that the premise of your film is silly--you can signal to the audience that you know it's silly--but you can still love it enough and pour enough care into it to create a film that's impressively executed and delightful to watch, even heartwarming. Baz Luhrmann has demonstrated that brilliantly with Strictly Ballroom and Moulin Rouge. Perhaps Luhrmann could have made this film enjoyable. As is, I'd have gotten more enjoyment from just putting on my headphones and popping ABBA Gold into my CD player.