Exactly 10 years since the ABBA Gold collection danced and flourished onto our screens and over 40 years since that vivid Swedish group performed ‘Waterloo’ at Eurovision is the next instalment of the 2008 hit film Mamma Mia. Amanda Seyfried as Sophie played the ultimate game of guess who as she navigated her wedding planning on the luscious island Kalokairi while keeping mum about the arrival of her three would-be Dads Sam (Pierce Brosnan) Bill (Stellan Skarsgård) and Harry (Colin Firth). Mother Donna (Meryl Streep) had to confront her former flames, and by the end of it her 70’s flair could not be contained as director Phyllida Lloyd presented us with mostly triple threat performances (except for perhaps Pierce Brosnan’s lovable but panned ‘SOS’ rendition).
Ol Parker (The Best Exotic Marigold Hotel) is the next captain at the sequel’s helm. Splitting the timelines to the present day meshed with Donna’s 1979 graduation from Oxford, is a story about how she came to the island and why she led a less than conventional life. It’s an ode, but definitely not a swan song to her life, as her daughter wafts through the reality of post-marital bliss and absent relatives who cannot make the all important re-opening of the best, exotic Greek hotel.
This is where young Donna (Lily James) effervescently shines as she hovers on the cusp of her life , heading towards the edge of the travel brochure she has called home. James flips the B side of the lesser known tracks ‘Andante,’ and her strong opening number ‘When I Kissed the Teacher,’ while still giving an A grade performance. Linking her story to her daughter’s present day debacle can feel a touch haphazard at times, and outside of that there isn’t much in the way of plot except for spontaneous musical numbers that seem to align so perfectly with the characters that summon them. Yes, some songs are reprised, but the tonal shifts run deeper than the cantors who reminisce their ballads. Despite the rumours, Meryl Streep gives Amanda Seyfried the best send off in ‘My Love, My Life’ while the baptismal waters swirl through the joys and jabs of life and death. Mufasa, sorry, Meryl would be proud.
Originally, what drove the die hards and the musical lovers to the cinema was the humour and heart of the first film. Playful and picturesque, it didn’t take itself too seriously and the second one follows similar choreography but to a different beat. Watch out for Cher’s charming yet somewhat contrived entrance that ensures each of her quips are scene-stealers still noteworthy in their own right.
Above all, you’ll be thankful for the music, and will still be singing.
Verdict: 7/10
Universal Pictures Australia
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