"Mamma Mia", a dude's perspective on a chick-flick musical.

Rating: Null/10 (11 August 2008)

Before I dig into this film, let me say this; I enjoyed it for what it was, and to this end I liked it.
Technically the stock was pushed and given a dousing in color saturation, which is helped by both sunny locations and some respectable lighting for the stage sequences. This gives the film an appropriate warm and inviting sensation that effectively marries both interior and exterior sequences. This is partially due to the effective use of green screen, which adds a kind of transitional imagery from the lush Greek exteriors to the brightly lit stage sets that represent the heart of the hotel where the film takes place.
I don't have too much to say about ABBA's music. I liked ABBA's music, and still do, but have never felt the urge nor need to buy any of the albums. I understand the music being used as a basis for a musical, but, like a lot of songs taken from popular music circles and culture, there is a retrofit feel to some of the numbers. I never got the sense that the songs were created for the situations, which is only natural because let's face it, they weren't. But at the same time things feel a bit constructed. Maybe if I saw the stage play my opinion would be different. I don't really know.
The other thing that was somewhat jarring was seeing Pierce Brosnan being dubbed during his singing sequences. Whether he sang and dubbed himself, or someone else dubbed him, I don't know. But either way it seemed unnatural. I know why, but will refrain from espousing on the reasons.
I'll say this, it was refreshing to see a musical on the big screen. After so many action films, sci-fi flicks, sex-comedies, and other popular genres, it felt like a relief to see something striving for cinematic originality in terms of bucking the movie making trend. I can't recall the last time I went to see a musical at the movies. Heck, I think the last time saw one was Disney's "Mary Poppins" back in 1969. "Mama Mia"'s clearly not the only musical to hit the movie houses in the last 30 years, but the musical genre has been sparsely populated in the ensuing decades; "Xanadu", "Grease", "Grease 2", "Newsies", "Popeye", "Pennies From Heaven" ... and I guess you include "The Guru" or even the opening sequence of "Indiana Jones and the Templre of Doom" to a lesser extent. That verse the musical heyday of the 30s, 40s, 50s and 60s. In the era of yesteryear we arguably had too many (quite a few of which are laughable), but it can be so counter argued that we have too few today.
Even so, I'm not a tremendous fan of contemporary musicals, largely for the reasons Gene Kelley cited when he worked on "Xanadu"; "These people don't know how to shoot a musical." (or words to that effect). And that's still true. Phyllida Lloyd comes closer than other contemporary efforts (save for Randal Kleiser's translation of "Grease" to the big screen), but her film seems more infatuated with the ladies' perspective of how to have fun than a good romantic tale. But this is probably more as a result of test screening by the studio than a genuine artistic bent.
Storywise there isn't a whole lot here. As Ebert commented the plot line is there more for propelling the musical numbers, and not so much meant to deliver a parable, which is what this movie really should have done. To this end it skirts the fringes of being sexist by nearly excluding and delegating the leading and supporting males to the realm of "objects of affection", though this was most likely done for marketing purposes.
All in all I found the film entertaining, but too far skewed to be genuinely universally appealing, but nor was I offended by its direction and focus. My personally opinion is that it's probably perfectly timed for a theatre going crowd, but it could stand to be a bit longer and ever so slightly meatier.
A good date film, if you're so inclined.