Entertainment, Movies - Navy Times

Film Review: ‘Mamma Mia!,’ 2½ stars

This is going to sound like something snatched off the top of the damning-with-faint-praise pile of critic’s barbs, but here goes anyway: “Mamma Mia!” is a lark, a movie that sets out to be fun and not much else.

No harm in that. Better still, despite some bits that drag, it often succeeds.

The story of a girl trying to find out which of three likely candidates is actually her father by inviting them all to her wedding — a story told with the help of songs by ABBA — is fairly well-known because of the popular Broadway musical. The film, too, is a musical, despite a cast that’s not known for its singing. (In at least one case, we find out why.)

What works about “Mamma Mia!” is that everyone involved — cast, crew and audience — knows that it’s a lark, and treats it accordingly. They seem to be having a great time making the movie, and the happiness is contagious.

At the center of the film is Meryl Streep as Donna, a once-freewheeling singer and flower-child type who had a rather adventurous summer on a Greek island 20 years ago, as her daughter, Sophie (Amanda Seyfried), discovers by reading her diary.

According to what she discovers, one of three men could be her father — Harry (Colin Firth), now a rich banker; Bill (Stellan Skarsgard), a travel writer; and Sam (Pierce Brosnan), an architect and, back in the day, Donna’s true love.

Unfortunately, Sam left for his fiancee, and Donna has stayed on the island ever since, running a crumbling hotel and raising Sophie. Now Sophie is marrying Sky (Dominic Cooper), and to her surprise and delight, all three of her prospective fathers have made the trip, though they don’t know the real reason she wants them there. Nor does Donna, who is extremely dismayed at their presence.

Also on hand are Donna’s former band mates and pals Tanya (Christine Baranski) and Rosie (Julie Waters).

Enough of the plot. Let’s cut to the chase. Since much of the story is prodded along by ABBA songs — the band’s catalogue resides somewhere between “camp classic” and “criminally underrated” on the classic-rock scale — can these people sing?

For the most part, yeah, somewhere between passably (Baranski) to good (Streep) to really good (Seyfried). Remember, too, that this is a musical movie, not a recording session, which is why the best moments go to Streep. She’s not just singing, she’s acting, as well.

That’s never more true than in “The Winner Takes It All,” used here to illustrate to Sam why she could never be with him. It’s a great performance, strong and sure of voice.

Best of all, though — and Streep is again at the center — is “Dancing Queen,” in which seemingly the entire town is enlisted as Donna traipses through the streets, singing. The whole lot winds up on a pier for the last chorus before jumping into the water. It is joyous, infectious. Having the time of her life, indeed.

Unfortunately, it takes a while to get there. The film drags at the beginning and drifts a bit at the end. And then there is Brosnan. Handsome devil, underappreciated comic actor. Whatever. As a singer, the pitch and range of ... oh, forget it. The guy just can’t sing, to the extent that the audience at the screening laughed when he tried. It’s sort of funny, Brosnan trying to hit high notes during “S.O.S.,” but it turns the scenes into mere skits, with his voice serving as the punch line.

It’s probably best not to overthink it. “Mamma Mia!” is not going to make you think, nor does it want to. But it will make you sing, as long as Pierce Brosnan keeps his mouth shut.

Rated: PG-13 for some sex-related comments.

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