For me, ABBA was never a guilty pleasure. It was
usually a pleasure, period. Most of the group’s hits were great little soap
operas sung in Berlitz lesson English to irresistible melodies with
unassailable arrangements. It was pure pop for now people in the ’70s.
ABBA was never as big in benighted America as
elsewhere, but that began to change with the 1999 Broadway debut of one of the
most lucrative musicals ever, Mamma Mia!
The plot, loosely strung together through a sequence of ABBA songs, concerns a
fatherless 20-year-old girl about to be married. Reading her mother’s diary,
Sophie gathers that mom was never certain of who fathered her. There were three
possibilities. Sophie decides to invite them all to the wedding, behind mom’s
back. Which one will escort her down the aisle?
Let’s not get too persnickety or unwilling to suspend
disbelief. Classic operas have been built from thinner concepts, as have many
beloved musicals from Hollywood’s
golden age. The extraordinary box office enjoyed by Mamma Mia! practically insured its transformation into a movie
musical, especially at a time when the once dormant genre has made a cautious
comeback with The Producers and Hairspray.
Mamma Mia! is as enjoyable as any recent
contender and like any good song and dance picture from the 1940s and ’50s, is
soaked in bright color and brighter melodies. It boasts an enviable cast.
Starring as Donna, Sophie’s mom with a wild past, Meryl Streep proves game at
motherhood and business. Streep is slumming but having a good time. Donna owns
a charmingly rundown villa-resort on a remote Greek island, set like a
sun-dazzled diamond on the wine dark sea. The scenery is almost worth the
ticket price. OK, the rental once it’s released on DVD.
Pierce Brosnan, Stellan Skarsgard and Colin Firth
play the trio of long-ago boyfriends and presumptive fathers, Sam, Bill and
Harry. The personality chasms separating these three men are wide enough to be
funny (though the script doesn’t exploit this as well as it could) and makes
one wonder about the catholicity of mom’s tastes. Brosnan, Skarsgard and Firth
appear as comfortable in their light roles and just as willing as Streep to
burst into ABBA songs. It must be said that the original recordings were
better. Those chilly Nordic harmonies captured the vibe with greater aptitude
than the uncertain voices of the cast.
The
screenplay includes anachronistic allusions to “flower power” and Sid Vicious,
as if Donovan and the Sex Pistols shared the same cultural moment; photos of
the three boyfriends from 20 years earlier make them look for no good reason
like a Spinal Tap tribute band.
Mamma
Mia! is helmed by its stage director, Phyllida Lloyd, who nails the silly
theatrical exuberance without a thought of cinematic grandeur.
Mamma Mia! probably won’t be cited
alongside
Singing in the Rain or
Moulin Rouge. It’s not epochal but
merely a bubbly two-hour summer vacation to a comical, nostalgic world beyond
the reach of high gas prices, credit card debt, failed mortgages and the
uncertain future of the world. Maybe that’s as good as it gets in the summer of
2008.
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Lena
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