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Producer and screenwriter Ol Parker and the producers bring the whole band together – and add some newcomers, including Cher – for another tour in this sequel to the 2008 hit Mamma Mia!
Scarred by a film that no one would have predicted would be as successful as it was, which was adapted from a musical comedy that was a huge surprise success, a suite that is – predictably – made with more money, wit and craftsmanship. remains slightly disappointing. Mamma Mia! Here We Go Again The sequel to the 2008 musical jukebox smash Mamma Mia! (he earned more than 600 million dollars worldwide), is the film equivalent of a B side (digital age readers may need Google to understand what it means): adequate, blessed with some good hooks and likely to have fervent fans. But no one would care if the other had not been so fat.
Indeed, the biggest flaw of the film is that its soundtrack, the very engine that propels it, is composed from afar. too many real B titles, or at least lesser-known tunes from the catalog of Benny Andersson and Bjorn Ulvaeus, the two Swedish singer-songwriters who made up half of the ABBA pop quartet of the 1970s.
an ingenious idiotic machinery , consisted of a pleated tale (about a young woman, the daughter of a single parent, marrying on a Greek island and inviting the three men who might or might not be his father at the wedding) inverted around a collection of hits in solid gold, each of them is a toe toe. That is, if your toes are triggered by the sound of lush orchestrations, close harmony songs and deceptively simple but secretly musically sophisticated melodies, perhaps stimulated by the memories of the '70s in all their gloomy splendor. "Dancing Queen", "Super Trouper", the title song "Mamma Mia" itself – they all fit that bill.
The pickings are definitely thinner for Mamma Mia! 2.0 . There is a reason why tunes such as "When I kissed the teacher", "Fire kisses" and "My love, my life" did not become tubes of the same magnitude as the tunes mentioned above. (Tip: These are bullshit.) That left the producers and filmmakers behind Here We Go Again with a particularly delicate challenge in that they had to fulfill the mandate of all the sequels: to offer more the same, but
Since familiar and singing songs are integral to the lure of the brand Mamma Mia the solution that they chose to use Here is a compromise, a compromise The patches collect a story from the remaining pieces but intercalates them with exactly the same colossal successes we've known and loved since the first time. It's a solution that's both fantastic and deeply daring, oddly lazy. Imagine Rodgers and Hammerstein deciding to make a sequel to South Pacific and simply recycle "I'm going to wash this man at the end of my hair", "An Enchanted Evening" and "There is no nothing like a lady "because hey, everyone loves those.
With this major warning, it is possible to recognize that there are many elements in this assembly that vastly improve the original. For starters, the scenario – attributed to Ol Parker ( the best exotic Marigold Hotel ), who also directs here, derived from a story by Parker, Richard Curtis ( Four Weddings and a Funeral Notting Hill ) and Catherine Johnson (who wrote the book for the original Mamma Mia! ) – is better leagues than her predecessor. Generously salty with spiritual one-liners that particularly look like Curtisian with their self-depreciating cadences, oh so British, the screenplay also has more depth and emotional complexity. This is especially true because it is structured around the collective grief of the whole about the untimely death of Donna (Meryl Streep), the hotelier of the first film whose dalliement with three men at the end in the 70s led to the birth of his daughter Sophie (Amanda Seyfried), the bride whose marriage is the centerpiece of the first musical
Skilfully returning to the first film with many reincorporated details (There is the newspaper , look at the overalls!), Here We Go Again moves back and forth between two deadlines. In the present, Sophie and her step-father Sam (Pierce Brosnan) are trying to get the Bella Donna Hotel, a redevelopment of the old Donna Farm Hotel on a Greek island, ready for a splashy boost to old friends (all remarkable from the first movie)
Meanwhile, thanks to the magic of visual effects and clever cuts, flashbacks reveal what happened all these years ago when Donna (recently performed by Lily James) arrived on the island and had affairs with Sam (played as a young man by Jeremy Irvine), Bill (Josh Dylan, and a return Stellan Skarsgard in the present) and Harry ( Hugh Skinner, TV theatrical stuntman The Windsors and Fleabag and most recently by Colin Firth
Saying a lot more about the plot may spoil the fun but only those who have lived in the caves for a few months will not be co nscients that the story like Donna is separated mother. The film takes its time to finally get it to the screen, but its worthwhile entry is a showstopper-style drag-queen that starts from the stilettos and blows its way, designed to blow up the queens of all kinds or prostrate themselves in worship, according to the inclination. For a duet with Andy Garcia (almost inaudible through the swampy scheme), there are even fireworks – rightly for an air that Johnson could not of course find a way to work in the first edition, but that makes sense here. This is actually the highlight of the film, just as the production of "Waterloo", skilfully interpreted by Skinner and James, is the helium that keeps the middle section in the air.
Parker, a more competent and imaginative director than Phyllida Lloyd, Mamma Mia's show model! enjoys collecting musical numbers in a manner reminiscent of the earliest days of pop video, with live montages or aerial shots of Busby Berkeley. choreography turning on abstraction. The result is to make it look much more like a return to old-school musicals in all their glory. This helps that the cast seems to have a good old hootenanny of a time, almost winking at the public, on the joke until the end. And most importantly, we do not need too much to listen to Pierce Brosnan's excruciating vocals
Production: A Universal Pictures Presentation in Combination with Legendary Images / Perfect World of & nbsp; & nbsp; 39; a production of Playtone / Littlestar
Interpretation: Amanda Seyfried, Andy Garcia, Celia Imrie, Lily James, Alexa Davies, Jessica Keenan Wynn, Dominic Cooper, Julie Walters, Christine Baranski, Hugh Skinner, Pierce Brosnan, Omid Djalili, Josh Dylan, Gerard Monaco, Anna Antoniades, Jeremy Irvine, Panos Mouzourakis, Maria Vacratsis, Naoko Mori, Igawa Togo, Colin Firth, Anastasia Hille, Stellan Skarsgard, Susanne Barklund, Dear, Jonathan Goldsmith, Meryl Streep
Director / Writer: Ol Parker
History: Richard Curtis, Ol Parker, Catherine Johnson
Producers: Judy Craymer, Gary Goetzman
Executive Producers: Benny Andersson, Bjorn Ulvaeus, Rita Wilson, Tom Hanks, Richard Curtis, Phyllida Lloyd, Nicky Kentish Barnes
r: Steven Sharshian
Director of Photography: Robert Yeoman
Production Designer: Alan MacDonald, John Frankish
Costume Designer: Michele Clapton
Editing: Peter Lambert
Music and Lyrics : Benny Andersson, Bjorn Ulvaeus
Composer: Anne Dudley
Music Director: Martin Koch
Supervisor Music: Becky Bentham
Choreographer: Anthony Van Laast
Casting: Nina Gold
Rated PG -13, 114 minutes
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