It was the Friday of the second week of Mamma Mia 2 and our local cinema had to shift the screening upstairs to its 95 seat cinema since it was opening the latest Mission Impossible movie in Screen 1. I suggested we went early to get a good seat. I was proved right as the audience arrived en masse before even the ads started. There were a handful of older men in the audience, otherwise it was entirely female ranging from around 10 years-old to 80 plus. Usually when the ads play, they are loud and audiences speak quietly to each other. On this occasion I couldn’t hear the ads at all – the chatter, shrieks and laughter in anticipation of the film drowned out all the sound from the screen. When the ‘Intermission’ sign went up after the trailers I did wonder if there would be a riot at the prospect of waiting a further 10 minutes for the film to start. But the audience just chatted on and the projectionist seemingly found a way to start the feature earlier than usual. The audience quietened immediately and behaved impeccably (laughing, groaning and cheering appropriately) from then on.
I mention all this because professional film reviewers seldom see films with audiences and it certainly affects a reading when audience participation is part of the show. I should declare my own snobbery here. If I’d remembered that Richard Curtis was involved with the storyline of the film, I might have avoided it altogether. But I forgot and therefore enjoyed the experience like everyone else.
Following on from Mamma Mia! (2008), the sequel is in many ways actually a prequel. Amanda Seyfried as Sophie is ten years into her marriage. She’s pregnant but her husband is now in New York learning more about the hotel business. She plans a re-opening of the ‘bijou’ hotel she inherited from her mother Donna and invites all the characters from the first film to the opening. But this is also a time of introspection and the first of many flashbacks introduces Lily James as Donna back in 1979 graduating from university and heading to the Greek Islands. The narrative then moves backwards and forwards in time towards a finale when all the characters are together. The distributors tease the audience with expectations that both Meryl Streep and Cher are in the film. The former has some brief moments and the latter a little bit longer and the chance to sing ‘Fernando’ with a barely recognisable (by me, anyway!) Andy Garcia.
What to make of this $75 million ‘juke-box’ musical? Well, you can’t go wrong with Adriatic sunshine (Vis, Croatia), Abba songs and some excellent troupers. There is one moment of comedy genius from Julie Walters, Cher is worth her one song and the new younger cast members have plenty of energy. I felt a bit sorry for Amanda Seyfried who I think is up-staged by Lily James (who gets the better songs/production numbers). I remember being impressed by Ms James in The Darkest Hour in a very different role. Overall, however, I don’t think the narrative holds much interest and I couldn’t detect any sub-text. It also doesn’t make much sense. If Sophie was conceived in 1979 she would have been nearly 30 when she married in 2008 and nearly 40 now – or is this film set in 2009? It is indeed a juke-box musical. You pays your money and you get the songs. I didn’t feel short-changed. As the golden age musicals had it ‘That’s Entertainment!’
I feel that this second film is a bit more bland than the first and possibly a bit slicker and more ‘Americanised’. It’s still essentially a British-Swedish production but presumably there is more American money behind it. (I note that Wikipedia calls the two films ‘American musicals’, which is a bit rich.) The second film has so far followed the first in making much more at the box-office outside North America compared to the Hollywood ‘domestic’ market. The director is Ol Parker, best-known for the ‘Marigold Hotel’ films and Catherine Johnson, the original writer of the stage musical is still involved. But what happened to the original director Phyllida Lloyd? Will the dilution of the Streep role harm the second film’s ‘legs’ at the box-office? We’ll see. I’m assuming that the first film’s audience skewed older and female.