Remember that feeling you had when you were a kid waiting for Christmas morning? You sort of knew what might be under the tree waiting (letters to Santa ALWAYS managed to result in at least SOME of your heart’s desires being there), but inevitably there were some surprises when the big moment finally came and you rushed into the room where the tree was and there were presents that could NOW be ripped wide open?
I’ve sat in darkened theaters for the past nine years and experienced MM on stage a good number of times. You may have read that about me.
In terms of the movie, I knew what was about to take place in regard to the storyline, but this time it was going to be with different faces, and the settings would not require me to fill in the blanks like a stage show does.
The brilliant colors would be stunning, the soundtrack would be in Dolby 5.1 surround; my senses could easily go into overload mode. BRING IT ON!!!!! I WAS SO READY.
But, waiting for the previews to end and the silence-your-cell-phone admonishments to roll, I was giddy with anticipation because the movie was going to be a completely different animal. I was nervous with anticipation and a sense of euphoria was building as the Universal logo appeared. I might have peed just a little bit because I was about to burst at the seams with anticipation.
And so it began.
WARNING: I am going to tell you what I loved about the film version of MM, but I may also rip the thing to shreds from a technical standpoint. I like to be an equal opportunity kind of guy.
First of all, the look of the film is simply stunning. The sets are amazing, actors are top-notch, and the cinematography was first rate. I was fortunate it turns out in that I had to go to a distant city to see the film for the first time. I say fortunate because this is one of those gigantic, a-circus-has-thrown-up, mall type mega-plexes, which I usually avoid like the plague. BUT, this time it worked in my favor because the screen was ginormous and the sound was pristine—the way this movie needs to be experienced.
From the moment the title sequence wipes into Sophie running down the dock with the sparkles on the screen, I drank the Kool-Aid and kept my hands inside the ride at all times.
Honestly, the stills from the movie we’ve all seen had become a bit tiresome and I was sort of numb by now. It wasn’t long before that numbness went away as those images came to life with SO much more around them. I was a tad nervous going into the theater because I had a quick flash in my brain, “what if I don’t like this after all my self-induced build-up?” It could happen.
But it didn’t. Each scene was more beautiful to look at than the last. Early on, the pacing was good. I really liked the quick montages of the fathers preparing to come to the island from their respective homes. (Anyone else wonder if the ‘car chase’scenes were a nod to Ashely in ABBA The Movie?) This is an area where the movie has an advantage over a stage show. The film maker can visually create those scenes rather than relying on dialogue. I was nodding in approval already. The movie was going to do things I couldn’t even imagine.
I was enjoying the Rosie/Tanya banter as they boarded the ferry to the island. Too bad they didn’t use more of the light and comedic dialogue later in the film. It sort of fizzled for me after that point. Tanya losing her shoe on the dock; a nod to Frida losing her show at the MM ceremony in London a couple of years ago?... Hmm…or did Frida do it as a nod to the show? Has MM become so self-referrential it is about to self destruct? Who knows.
Now, personally I can take or leave Money, Money, Money, the song and the sequence on stage, though theater audiences have always noted it as a high point in the show.
If MMM was the gold-standard early on in the film, Slipping Through My Fingers elevated that tradition up to the next level of fabulous. This is THE song where Meryl makes an ABBA classic all hers. Sure, she effectively grabs hold of The Winner Takes it All, but STMF is now HER song. Even the imagery in the film is nice—filled with wonderful mom and daughter moments while mother helps daughter dress for her moment at the altar. It’s a really touching and special part of the movie, and I don’t even care for the song, never have. I can UNDERSTAND why mothers respond to it, but it just does NOTHING for me personally, but I’ve been called cold and heartless.
The homage to Titanic was brilliant, even though I think I was the only one laughing in the theater; truly a wonderful movie moment. (Did the bit on the boat with the indulgent moments during MMM remind anyone else of the photography and imagery from ABBA The Movie, specifically the Name of the Game sequence?)
Dancing Queen is rather silly, as it probably should be, but the old woman with the sticks really nails the moment! I was so caught up in the movie when Donna joined in on vocals in the bedroom that I forgot this is the point when I usually get chills during the stage show. They snuck up on me again and suddenly I was overcome with the same sensation when Donna jumps from under the covers and begins to harmonize with the others. It got me again, unexpectedly.
I’d never really thought about DQ as the ultimate “girl power” anthem, but they managed to turn it into that during the movie. I guess the stage show, sort of does that, but the frolic through the countryside with the burgeoning entourage of local women, really upped the ante on the girl power factor; an interesting take on the classic song. I don’t really like how the movement/choreography doesn’t match the rhythm of the song most of the time, but still, it’s a fun number.
Our Last Summer, a personal favorite in the catalog is wonderfully reworked in the MMtM. This may be my favorite bit. I was completely, unexpectedly moved by it. As Sophie learns about her possible dads, her adoration for each one is evident. I think the song sort of speaks to my personal ABBA journey in some way. It’s a song of reflection and fond memories. It was almost as if in those few moments I was recalling all my years of being a fan somehow. The lyrics and tone of the song sort of worked together to fill me emotionally as it unfolded on the screen. By the time it was over and Sophie dives off the boat, I was wiping back more than a single tear. I generally smile at the end of the stage show, but have never been that emotionally moved by it like I was when I watched this version.
To me, it’s painfully obvious where the Name of the Game was cut. To the casual observer, it won’t be missed. For pacing sake, it was probably a good choice to cut the song.
Super Trouper is one of the silliest songs ever written, even though its upbeat tempo is somewhat ironic in relation to the lyrics. For me, it’s always been a throwaway track. The only realization that hit me during the song in the movie was, “hmmm…have I been missing the fact that Donna and the Dynamos were supposed to have been major big-name act back in the day?” I’d always sort of assumed that for the stage show, Donna and the Dynamos were a local band or perhaps regional at best. But now I wonder if the supposition is that they were a “real”, majorly popular act a la ABBA back in their day. That had never occurred to me previously. The brief look at the poster with the reference to Fernandos was fun for the uber fans among us.
Gimme Gimme Gimme and Voulez Vous work fairly well, VV being a bit stronger because I like the way it incorporates elements from the stage. Namely the lights and the cobblestone floor like on stage. I think the two dimensions of film cause a little less energy to shine through, but still, it’s a well done sequence. I liked it better the second, and subsequent times I watched it than the first screening I saw.
The movie suffers from the absence of Under Attack. It looks to me like it was going to be there because of the way VV ends with Sophie passed out in the midst of the dancing. I was really looking forward to the cinematic spectacle of a dream sequence here, but alas, it wasn’t to be. I just imagine how well the dream sequence could have turned out on screen with special effects, CGI, etc.
Now, even if you’re not t a fan of MM on stage, you have to admit, Does Your Mother Know really is a showstopper of a number. It has always been the high point on stage for me. I adore Ms. Baranski in most everything she’s ever done. This should be the ultimate sequence, but it ‘just’ misses the mark ever so slightly. I don’t know exactly why, but it lacks something special. Baranski seems a bit stiff or restrained or something; still have not completely put my finger on it. It works, but there was something missing for me. The repair dialogue is a bit hard to hear, or perhaps I’m old and my hearing is not what it once was. A song with so much gusto on stage seems to falter a bit in the movie.
Now I may be on sacred ground here, but this is my personal review, so take it as my own experience. Meryl acts the pants right off of The Winner Takes it All and her vocal is perfect. The setting is absolutely stunning and there is nothing I can say negative about that moment in the movie. That said, Pierce has an equally emotionally charged moment and scene with When All Is Said And Done on the heels of Meryl’s TWTIA. I’ve already told you how much WAISAD means to me and I think the “toast” moment in the film is a brilliant use of the song, as well as the vocal talent of Pierce. Yes, I said talent—he sings the hell out of that song and nails it end to end. But, uh, did I miss something? Where was the extra verse in the film? What was the point of adding that verse if it wound up on the editing room floor?
Uhm, and how idyllic was the church up on the hill? What a breathtaking shot when they first pull back to reveal the lighted path leading up to the top; stunning.
By this point, the movie has gotten a bit slower paced with several ballads in succession and more serious action having wrapped up. So, the mood is a bit lower and you can feel the director literally say, OH, time for an upbeat ABBA song now, so let’s do Take A Chance on Me.
Fine, I can buy a mood-lightening moment being needed. But for God’s sake, bring the tone up with something that actually resembles fun, frivolity and celebration. This song treatment on film is a cobbled together sequence that’s not merely dead on arrival but completely uninspired and so disjointed I began to wonder if the projection room received the wrong print. High camp is allowed, nay, encouraged throughout. But TACOM isn’t high camp. It’s a poorly executed would-be romp that misses on every level. Julie Walters CAN sing. Here she screeches. Stellan Skarsgard looks like cardboard and just chews the scenery in a moment when he should have been having a high old time. He didn’t join the joyride. I don’t think he even got in line to buy a ticket. Mercifully, it’s a short scene; the one saving grace. Yeah Colin and his Greek god of a man join in the fun, but frankly I was so disgusted by what could have been a wonderful sequence, I barely noticed the gay element, nor did I really care—it seemed a bit too contrived or something.
The final I Have a Dream scene is fine, low-key, short and sweet and to the point.
Then, rising from the dark Aegean blue waters, comes this cheap and cheesy outline of something that resembled the second coming of Nessie. (hey, I know we aren’t in Scotland, but Brosnan IS Irish, so it is close enough.) Here is where a really cool, state of the art animation sequence could have been employed for effect. But instead, the look is more circa 1975 or public access television graphics production. Pretty minimal stuff required to transition to the Dynamos standing in a stark studio reprising DQ, which of course the audience is waiting for, and rightfully should be.
Sing, sing, retro dance moves, standard issue mugging by all three; ta da!.
“Want one more?” says Donna as if she’s drunk.
Cue Waterloo. Same routine (read as D.U.L.L. with a capital Yawn!)
Uh-oh, here come the dads in glitter and tricot fabrics—it’s NOT spandex—just ask Ms. Sandstrom!
Don’t look now; hey it’s Sophie and Sky making an appearance -- in costume.’ ZZZzzzzzz….
By the time the stage show gets to Waterloo the audience is whipped so high into a frenzy they’ll have to be peeled off the rafters to get out of the theater. I was furious watching this bit in the movie. I tried to let go and have a good time during this final sequence. I really, really wanted to. I did. But when it was over I felt let down. This should have been a great, energetic, frenetic moment on screen. Instead it just sort of looked like borgs going through the motions in ‘well they paid me, so I have to do this’ mode; really a disappointing moment for this sweaty, obsessed fan. The stage show has all the chorus singers and dancers whooping it up. Yeah, I know, this was a showcase for the “star quality”, but it lacked, sorely lacked any shred of spirit. Just my take though.
The highs:
Streep is so darned appealing in the lighter moments; she IS having fun and her exuberance is infectious.
Skarsgard’s cheek shot was a brilliant sight gag. Very well received by all audiences I’ve sat with. It did nothing for me personally, his ass, but it’s a funny moment that is unexpected, probably why it works.
The setting is simply gorgeous and I marveled, scene after scene at the beauty of the location shots. I definitely need to visit Greece soon.
There was not a single miscast actor in the movie...everyone was perfect in their respective roles.
The “Greek chorus” bits were an inspired touch.
Julie Walters is a gem. N’uff said, period.
The lows:
The editing was appalling. The energy of the dance numbers was lacking in many places, most notably Does Your Mother Know. I can’t quite explain what I mean, maybe it was the lack of wide shots or too many close ups (as one very old, very long-term fan suggested to me).
Tanya was a bit too bland, sympathetic, and not quite self-involved enough. Sure she’s with her best pals, but the character needs to have a bit more sass and self-indulgence to really shine up there on the screen.
“Old goat” should have been more comedic, as in the old goat house. I wonder if dialogue was cut, or they just never bothered to fully develop a funny bit around an idea that was almost there, but not fully fleshed out.
So how did I feel when it was over and the screen faded to black? I was happy; really, really happy. For the previous one hour and forty eight minutes, I’d been having a lot of fun, all to the sound of some of my favorite songs. I’d seen new life being brought to a story I’ve lived with for nine years. I’d seen some phenomenal actors having a rollicking good time.
I was relieved. I’d always hoped Hollywood would get it right with this property, and mostly they did. I like chick flicks. I like sappy, love stories. I like ABBA songs, so this could potentially be a triple threat. I was content in the knowledge that the general public would go see this film and likely be able to fall in love with it because it has been reasonably well done.
And something else is bothering me, so I’m going to get it off my chest now. The press, the fans, and even patrons at the movie have been bemoaning Pierce Brosnan’s vocal ability, or lack thereof. Has anyone seen the stage show? Have any of the dads ever been particularly “good” singers? I would say the ones I’ve seen, and I’ve seen a lot of them, are marginal at best. I think that is possibly by design. The male leads are all somewhat incidental to the story and have never really been standout singers. I believe the former 007 did a capable job singing in the movie, just as many other actors who have played the role of Sam. I thought Pierce added a nice touch of charisma to the character that has always been lacking on stage. He’s sexy as all get out and is aging quite well in my humble opinion. He was very natural on screen. He certainly pulls off the few numbers he does sing. Is he Pavarotti? No way, but I think that is partly by design when they cast those roles.
I will say, I was wracked with emotion as I drove to the theater in the late hours of July 17. I sort of felt like this was going to be the culmination of something very big in my life. There is absolutely, positively no way that the movie could have pleased me on every possible level; my expectations were far too high, even though I had been avoiding all reviews and possible editorial content for the weeks leading up to the movie’s release. It just wasn’t possible that I’d be overwhelmed at the finished product.
In the end, I was NOT overwhelmed, but a bit underwhelmed immediately following the film. Driving home I picked it to pieces. Actually it was more like shredding. I unfairly compared it to the stage show as often happens. I’m usually annoyed when I see a movie musical and hear people complain when they compare it to the stage version. Yet, I was doing that very thing I detest. In order to get the full effect, and a more balanced opinion of the film, I would have to see it again, and probably again, and yes again some more.
Once I saw it a few more times, my heart softened toward it ever so slowly. I began to see they hit some marks and missed others with the film adaptation. Not a single performer fell short, but certainly, other aspects did such as writing, directing, editing, etc.
Overall, MMtM is an okay movie, not great, but good. I suspect it might go on to become another Rocky Horror type movie. You know, the kind that is shown as a sing-along, and the audience will come dressed up and concoct props to interact with the screen during the movie? That was the first thing that struck me when the movie ended. Maybe it will be a gay male thing, but I think that is MMtM’s inevitable fate. It won’t win any awards, nor does it deserve to. But it will allow people to have a whole lot of fun at the movies this summer (Northern hemisphere.) Ben Brantley probably said it best when he described the Broadway show as a ‘giant, singing Hostess cupcake’—the movie is simply a new wrapper for the indulgent sugary sweet, confection of a treat; nothing more, nothing less.
Footnote: On Sunday night following the opening weekend of MMtM, I had a dream while slumbering away. It was a very vivid ABBA related dream and prominently featured Aggie. Benny was there too, sort of acting as her “handler.”
During the dream I was at home with my parents, which looked nothing like the home where I grew up. My parents were there, but were more like forces than actual beings. For some reason Aggie was hanging out in our town. Benny was there too and had arranged her coming out again effort.
I spoke with her briefly and she was the shy, coquettish person I’d expected. But something I said to her let her know I was in on her joke and understood her. (I have NO idea what that means either…)
At some point she spent time with my parents and took a great liking to my father…as most people do, though I have NO idea why.
Once she felt at ease, she dropped the weirdo act and was the most pleasant and warm person you could ever hope to meet. She and my mother really hit it off…again, WHY I’ll never be able to rationalize.
Sure my mom is June Cleaver on first meeting her, but in reality she’s more like Joan Crawford behind the curtain.
Anyway, Aggie decided she wanted to stay. She felt at ease and finally let me know, she was now ready to be normal again.
This dream was so vivid, so surreal and so tactile in many ways.
Benny kept keeping her from sight because he felt she was nuts and only wanted a perfect image to be seen. She clued me in that she knew what his game was and was playing along to make him happy. She and I became fast friends. She trusted me and was now ready to trust the world it appeared.
I told you it was messed up, but aren’t most dreams? When I do dream about ABBA from time to time, Aggie is almost always the featured player. Maybe I’m working out my Aggie syndrome or something. Maybe I’m afraid of the world too. Or maybe I need to get a real life so I don’t dream about a silly pop group and the nut cases that comprise said group.
So there they are, my long-winded, honest and heartfelt thoughts about Mamma Mia the Movie. It’s been an incredible ride these past weeks and months leading up to its release, from the perspective of being a long-time fan. The excitement has been great. I’ve enjoyed rekindling my association with and love of the music, and yes, even the people of ABBA. I am not very passionate about very many things in my life—I sort of drift along and taste bits and pieces along the way, never bothering to engage very deeply with too many things. ABBA has always been different in that regard. It got inside me and stuck for some reason.
I’ve taken a lot of grief for it through the years—34 to be exact— but more importantly, I’ve derived boundless pleasure from listening to the music when I’m happy, sad, or somewhere in between. ABBA has always been there. Nothing else compares to the passion I have for the songs and the experience of being an ABBA fan. Mamma Mia as a movie was another chapter on this lifetime journey I never would have expected, just as the stage show was nearly a decade ago.
I analyze being a fan with the logical side of my brain and think, “well that’s just silly.” Then I let the emotional side of my brain take over and I can’t resist it. Something is released inside me that allows the joy to come flooding in sort of like when the old woman throws down the sticks and declares, “oh yeah” during the Dancing Queen number in the film. The joy rises up and I lose myself inside the songs, if only for a fleeting few moments.
Long about 1985, there’s absolutely no way to have predicted what would happen in the ABBA world. That was more than two decades ago...in another ten years time, who knows what lies waiting down the line…
Afterthoughts…
On subsequent screenings I’ve attended, I’m still surprised when the theater erupts in applause after DQ. The first couple of times the audience or parts of it, stood and gave it a standing ovation which was a bit startling. But it seems the viewers really connect with DQ on the big screen. I think it’s okay, but not spectacular in the vein of the song. It’s difficult for me to say I like the song DQ due to its ubiquity over the past 30-plus years. It IS a good, solid, well-crafted pop song to be sure, but personally it is hard for me to say I love it. It has become so second nature in my life. DQ represents something (the group and whole of their music) so personal to me. I can’t NOT like it, but it is difficult for me to set it apart from everything else and say definitively, yes, I like DQ.
How much fun is the instrumental, folksy version of DYMK which is used in the ferry scene, and again at the end credits after TYFTM? I really like this one as well as the instrumental of GGG and Waterloo which feature in the score at various points in the film. I guess Waterloo being played during the arrival/boat scene is sort of a foreshadowing of the finale at the end when the three men strut their moves to it. Yeah, I probably look for too many intricacies in the film.
So many of the interviews Pierce did during the pre-release press junkets mentioned the Bs had written an extra verse just for his song in the movie. Now, why was it mentioned so often, then not used in the final cut of the film? Was it pacing? Was it some other reason? I’d really like to know, just because.Ben-Ben has alluded to those who know the songs and music intimately will probably be the only ones who notice the extra bits, or changes he’s made to the songs in the film adaptation. Did he do this for his own purely selfish desires to play with them or did he do it to mix things up for those fans, the people who know the songs intimately? It makes you wonder if what we perceive as his bullish ways may just be our own self-imposed conspiracies rather than the fact that he does try to offer something for fans now and then.
