Tropic Sprockets: Mama Mia 2

ABBA fans rejoice. “Mamma Mia” days have arrived once more. This mashup, a blend of a prequel and a sequel, directed by Ol Parker (An Ideal Husband) has the good sense to keep it light, while showing some spirit and poignance thanks to a haunting and heartfelt number by Meryl Streep.

In this chapter, the young daughter of Donna Sheridan, Sophie (Amanda Seyfried), has the intense desire to honor her late mother’s memory by opening a bed and breakfast in the Greek islands. She has one of her three fathers with her, Sam (Pierce Brosnan).

Sophie’s feelings cause her to be transported back in time and we see a young Donna (Lily James) in Paris. She meets Harry Bright (Hugh Skinner) and the two hit it off. They have a fling with a rousing musical number set to “Waterloo” which includes a spinning dancer in a wheelchair. Though smitten with Harry, Donna only has eyes for the islands. She meets the sailor Bill (Josh Dylan) while missing a ferry, only to run into Sam (Jeremy Irvine). Donna makes her feelings known to Sam, but as a young man he is a cad.

In the present day, Sophie wants to see her other fathers but they are occupied.

The performances, while not deep, are authentic and honest and have the facile touch not to take the scenes too seriously. This is a carbonated soap opera, true, but the musical vignettes are colorful and airy, popping across the eye like pleasing fireworks. The score has a rhythmic beat and the routines mix well with the acting. Perhaps due to the scathing criticism of Brosnan’s vocal cords, there is no solid singing from the actor in this episode, but there is a kind of spoken melody which gives a melancholy charm to the Bond actor’s much maligned voice. A highlight is Andy Garcia as Fernando, a kind of Dalinian lover, with over the top statements about beauty and romance.

While the previous film was rated quite silly, this one has a fresh spirit and an easy attitude, delivered by the young cast, notably James. Even Cher’s entrance and number is handled gracefully, possessing the courage of camp while not seeming forced or overdone. Say what you will about surfaces here but there is something to be said for Pierce Brosnan and Colin Firth who carry themselves well in purple glitter.

The last interlude by Meryl Streep as she sings the final song manages to be sweet without being overly sentimental. Her voice is well suited to her allure. The final moment: of one single blue eye through a sun-pierced church door could almost be a shot from “First Reformed”.

While the raspberry decree of the first Mamma Mia is understandable, this sequel is an island of a more tolerable tone with an awareness of light entertainment that is sure to please.

Write Ian at [email protected]