Feeds:
Posts
Comments

Posts Tagged ‘ABBA’

It was Friday night, and the lights were low (as you would expect, in a cinema). There were people everywhere – a sense of expectation hanging in the air. My impatience was slowly creeping up my spine and growing strong. Sitting there no-one could harm me. They just stared at me and wondered why.

As regular readers will be able to confirm, I can keep this sort of thing up indefinitely, but I expect you are more interested in hearing about Ol Parker’s Mamma Mia! Here We Go Again than in clumsily repurposed pop song lyrics, so let’s crack on with that. As it seems like the UK is currently experiencing a shortage of everything except shortages, cinema tickets are not quite big enough to accommodate that title in full, and so the ones we ended up with were apparently for a film entitled Mamma Mia! HWGA. By a strange coincidence, when I asked Next Desk Colleague if he wanted to come and see the film, his response actually was ‘Hwga!’, or at least a very similar sound. The same was true of nearly all my male co-workers when I broached the possibility with them – although there was one guy whose response of ‘I have a serious issue with the intrinsically non-diegetic nature of the musical as a cinematic form’ rather impressed me. Nearly all the distaff members of the office hurled themselves at the chance, though.

So I eventually rocked up to the new film in the company of a bevy of women of various ages and nationalities, all rather excited and wont to emit vowel sounds at unexpected moments as proceedings got underway. Fortunately my Anglo-Iranian affairs consultant had also agreed to come, so I wasn’t the only possessor of a Y chromosome in the party and didn’t feel quite so much of a stranger in a strange land. (I was still a bit worried I might end up spending two hours doing the Peter Rabbit face, though.)

Mamma Mia! Here We Go Again, in case you have recently arrived from Neptune, is a sequel to 2008’s Mamma Mia!, an alarmingly successful contraption based around creatively-cast performers doing unorthodox cover versions of songs by ABBA, one of the greatest pop groups in the history of the planet. This recipe ended up making $615 million, somehow, and so inevitably a sequel has arrived.

The first thing we should say is – now, does this constitute a spoiler? It’s a plot point that’s introduced virtually at the start, so I’d usually say no, but at the same time it’s deliberately obfuscated in the trailer, so… Oh, what the hell (spoiler alert). So – some time has passed since the first film, and central figure Donna (Meryl Streep) has carked it in the meantime, though whether this was a creative decision or just the result of Streep not really wanting to do the movie I’m not sure; suffice to say that despite her prominence in the publicity, her actual involvement is minimal.

This opens up the film to employ a structure which will probably be familiar to fans of The Godfather Part 2, although quite how big the crossover audience between The Godfather and Mamma Mia! is I’m not sure. Basically, we have one storyline which is a prequel to the original film, in which a young Donna (Lily James, whose publicity material will probably now contain the words ‘has been compared to Meryl Streep’ in perpetuity) leaves Oxford University, goes travelling in Europe, and embarks on the regimen of random promiscuity which will eventually leave her a single parent in charge of a rather cruddy Greek hotel.

The other plot strand concerns Donna’s daughter Sophie (Amanda Seyfried), who is struggling to reopen the same hotel thirty years later, with the help of her mother’s friends and widower (Pierce Brosnan). It soon becomes clear that Brosnan is basically being kept locked in a shed, well away from any sheet music, in case he attempts to sing again. (We will return to this.) Also helping out is a new character played by Andy Garcia, named Fernando (which if you ask me is tantamount to cheating). Will the reopening of the hotel be a big success? Will Sophie’s other two possible-fathers (Stellan Skarsgard and Colin Firth) make it to the island in time? Will anyone get the chance to sing ‘King Kong Song’?

I am tempted to say that if you’re the kind of person who found The Greatest Showman just a bit too gritty and hard-hitting, Mamma Mia! Here We Go Again will probably be right up your alley, filled as it is with appealing young actors, some of the broadest comedy turns imaginable, and – of course – a selection of indestructibly great pop classics.

That said, of course, I suspected this film might face what I call the More ABBA Gold problem. Permit me to explain – ABBA Gold is pretty much an essential album for anyone interested in pop music, being literally all killer, no filler: perfect hooks and choruses, emotional resonance, immaculate production, and so on. Every song on it is deservedly famous. More ABBA Gold? Not so much. I mean, it’s still got songs like ‘Honey Honey’ and ‘Summer Night City’ on it, which are quite well known, but also things like ‘Cassandra’ and ‘So Long’ which I doubt I’ve ever heard. The question is this: are there enough first-rank ABBA songs left to fill up another two hour movie?

Well… they kind of try to dodge this issue, mainly by reprising some of the songs from the first time round. There’s another go at ‘Mamma Mia’ itself, a reprise of ‘Dancing Queen’, and a moment when one of the characters, in a French restaurant with a bust of Napoleon, finds himself reaching for a metaphor for defeat, leading to the inevitable production number (this was probably the first moment at which I found myself with my head between my knees in the cinema). But some of the songs are more obscure this time around – the first big tune, bizarrely, is ‘When I Kissed the Teacher’, which at least occasions a truly mind-boggling solo from Celia Imrie, while also popping up are things like ‘Andante Andante’, ‘Kisses of Fire’, and ‘Why Did It Have to Be Me?’ The film’s big climax comes when Cher swoops in, basically playing herself, and sings ‘Fernando’ to Garcia (though I have to wonder what Garcia’s character was doing carrying a rifle across the Rio Grande in 1959, when he would have been about twelve). (The soundtrack album features Meryl Streep’s version of ‘The Day Before You Came’, which I must warn you does not appear at any point in the film. Not that you shouldn’t stay till the end of the credits, though.)

Still, even an obscure ABBA song is most likely a masterpiece of composition and production, and overall the music passes muster. But I have to say that much of the charm, if that’s the right word, of the original film is that it’s basically about a bunch of randy middle-aged people on an island together launching unprovoked assaults on the highlights of the ABBA back catalogue. The focus here is much more on randy young people, and despite winning performances from many of the cast (and I have to say that if Josh Dylan, who plays the young Skarsgard, ever visits my workplace he will be beating women off with a stick, based on the reactions of my colleagues), it is somehow less mesmerically weird and exciting and funny than the original film.

We’re practically into the home straight by the time all the original characters reconvene on the island, and I have to say I can’t help feeling some of them are a little underserved. I didn’t go to Mamma Mia! Here We Go Again to listen to Lily James singing; I went there to listen to Pierce Brosnan not singing (and to watch Colin Firth not dancing, for that matter). Brosnan is permitted a brief reprise of his legendary version of ‘S.O.S’ but is otherwise restricted to doing choruses alongside other people, which if you ask me is just not fair.

Still, everyone was singing along with the choruses during the film, and we all emerged with big smiles upon our faces, so I suppose Mamma Mia! Here We Go Again really does the job as a piece of entertainment. It isn’t as riotously silly as the first film, but it’s still a case of a deeply spurious non-plot being deployed to facilitate as many wonderful tunes as they can possibly get away with, topped off with a lot of knockabout humour and even a few quite touching emotional moments. I expect it will end up doing very well for itself. It’s simple and it’s plain – why should I complain?

Read Full Post »

Hark! What’s that? Is it ‘a water buffalo’? Is it ‘the QE2 sounding its foghorn as it comes into dock’? Or is it simply ‘a wounded raccoon’?

Well, I think we’ll get back to the source of those alarming noises later. Let’s not beat about the bush here, readers: in an attempt to cling onto my current gainful employment, I have agreed to take on the running of the weekly film club, but rather to my disappointment some of my favourite films of recent years (Monsters, The Guard) have been met with a response varying from indifference to downright hatred. I have thus been obliged to break out some rather more mainstream, populist fare, and to be perfectly honest I am wondering if the extravagant remuneration is worth the pain of watching some of these films. On the other hand, these are the sorts of films I never usually write about so there is perhaps an opportunity here to broaden the blog a bit. In short: Mamma Mia! – if I have to watch the damn thing, then you’re going to have to read about it (actually, you don’t have to).

mamma_mia_ver9_xlg

Anyway, Phyllida Lloyd’s film came out in 2008 and has made over $600 million at the box office. (Yes, civilisation officially collapsed several years ago, and I’ll bet you didn’t even notice.) It is, as if you needed telling, practically the index case when it comes to the modern phenomenon of the ‘jukebox musical’, where a selection of hits from a well-known artist or group are strung together by a frankly dodgy narrative.

Mamma Mia! is almost entirely set on a remote Greek island, which plays host to a crumbling hotel run by Meryl Streep, with the help of her almost painfully perky daughter Amanda Seyfried. Seyfried is getting married to Dominic Cooper, but as various women intent on chewing the scenery and pratfalling descend on the place for the wedding (most prominently Julie Walters and Christine Baranski), the bride is not happy. She does not yet know the identity of her father, due to her mother’s (ahem) amatorial generosity around the time of her conception. However she has managed to narrow down the potential candidates to Pierce Brosnan, Stellan Skarsgard, and Colin Firth, and secretly invited them all as well. Naturally, the scene is set for…

…well, mainly some sentimental and very broad comedy drama, if I’m perfectly honest, punctuated with frequent dips into the back catalogue of the legendary Swedish pop titans. Whatever your opinion of the performances and dialogue in this film, you have to grant the writers some credit for coming up with a plot which crams in quite so many well-known ABBA hits without seeming utterly contrived. There’s definitely some sort of crossword-puzzle solving, Sudoku-completing mentality at work here.

On the other hand, they don’t manage to squeeze in Fernando or Knowing Me Knowing You, let alone The Day Before You Came, which has to count against them, right? Plus there’s a definite cheat involved in only including Waterloo as a non-plot-related encore. In the places of these songs come some rather lesser known tunes like Our Last Summer and When All Is Said and Done, which certainly don’t feature on ABBA Gold (nor indeed ABBA Gold For The Ukulele).

I suppose even these lesser works are solid enough, but the last one in particular is difficult to fairly assess as it is delivered, if that’s the right word, by Pierce Brosnan, who gives one of the more remarkable performances in recent musical cinema. It is of course Brosnan whose vocal stylings have been likened to a raccoon, a buffalo, and so on, but to be fair listening to him yowl, yelp, and moo his way through songs like SOS and I Do, I Do, I Do is strangely entertaining.

This is just part of a peculiar alchemy going on somewhere in the heart of this film. On paper the plot is ludicrous, schmaltzy nonsense, and the general tone of the thing is so frothy and excitable it should really give the discerning viewer a headache. Watching it for the first time I got the rather grim sensation that all of the actors were having much more fun than I was: it’s a bit like arriving late at a party and finding yourself five or six drinks behind everyone else.

And yet, and yet… there are those songs. My God, Benny and Bjorn can write a great tune. Actually, they can write great tunes by the bucketful, all replete with perfectly-honed hooks, surging choruses, and just the right level of grown-up realism and melancholy about them. These songs are like adamantium, not even Pierce Brosnan can seriously damage them. Admittedly, the role-reversal version of Does Your Mother Know emasculates the song, and Streep’s histrionic version of The Winner Takes It All is absurd, but the film’s version of Lay All Your Love On Me captures the song’s mixture of near-spiritual intensity and implicit sexual frenzy perfectly.

All things considered, I would definitely rather listen to two or three ABBA albums back-to-back than watch Mamma Mia! again, because it really does have that air of being an out-of-control middle-aged hen party about it, and Dr K’s description of it as being close to A-list stars performing ‘drunken karaoke’ is, as usual, close to being spot on. But somehow it is impossible to thoroughly object to or even genuinely dislike this film. If nothing it is a testament to the power of… well one thing ABBA’s music isn’t, is cheap. I don’t really think this is the showcase ABBA really deserves, but in its own way the film does an outstanding job of showing just how good their songs are.

Read Full Post »