When Cher, yes, CHER, enters in the Final Act of “Mamma Mia 2,” she saves the film, and yes, kicks it upstairs into Gay Heaven, or at any rate, Camp Heaven with a good, swift stilletto-heeled sureness, only a stage and screen legend like Cher could provide. Pow! All the dullness and wishy-washiness of her young co-stars vanished, and NOW we were in the midst of a glorious fun-filled summer musical romp. She was so good, I immediately re-wrote my mind’s middling review and began raving like a teenaged fan-girl. Which let’s face it, is a cheery place to be in these troubled times. I guess I ended up loving it, and wanting to see it again. No, really.
In spite of all good sense, I found myself totally abandoning myself to its epic silliness. And why not? I always loved ABBA as a guilty pleasure. Those original, now classic, tunes got me through some very dark times when I was a house-cleaner in London in the ’80s. I was trying to get my plays done and become a right, proper British actor in the grand tradition. And it was tough. But ABBA was so uplifting, it made me forget all the charring.
I was a “Super Trooper”, and now Cher is a Super Trooper, too. In fact, she climaxes this barely organized mish-mash with that song, as well as her much heralded “Fernando” duet. As she and Andy Garcia(yes, ANDY GARCIA!) tango and sing their hearts out, both Senior Citizens now, as fire-works explode behind them, like it was 1968. Or ’86. Or one of those years, or decades that Cher’s career spans and she’s still singing! She’s a goddess for the ages. And FINALLY makes up for Meryl Streep not being in this movie except as a ghost.
You see, “Mamma Mia 2: Here We Go Again” does not really have a center to it, until Cher appears at the end like the Deus Ex Machina that she is. “Here We Go Again” flips back and forth in time between two stories, both starring lovely young blondes, Amanda Seyfried and Downtown Abbey’s Lily James. They both have to carry half the film each.
It seems Meryl’s character has died a year before “Mamma Mia 2” starts and her cinematic daughter Sophie (Seyfried) has to carry on without her, trying to re-build her mother’s dream of a turning their Greek island into a perfect Aegean guest house. Meanwhile, the film flashes back in time to the ’70s, when Donna (Lily James) was a wild young thing cavorting all over the continent, shagging everybody in sight.
Thus explaining (or trying to) how three different men could have potentially been the father of the single Mom Meryl’s child. As played by a trio of young hunks, notably “War Horse”s Jeremy Irvine (who grows up to be Pierce Brosnan). They make the case quite clearly how and why the young Donna/Meryl couldn’t keep her hands off all of them, one after the other, in rapid succession.
I would say Josh Dylan, who is making his big screen debut here as the young yachtsman that one day would become Stellan Skarsgard, has the best chiseled bod. British actor Hugh Skinner, who plays the young Colin Firth, doesn’t really get enough foreshadowing that his character is in later life going to be gay. An interesting opportunity missed.
Though Firth does camp up a storm in his own reserved way as his grown up self, and Christine Baranski (and Julie Waters) are back supplying even more camp (as if this film needed it).Which goes to prove something I’ve always felt. There can never be too much of a muchness. Or too much camp. Camp makes you happy. And so will “Mamma Mia 2.”
And last but not least, the young British hunk of hunks Dominic Cooper is back again as Sky, Sophie (Seyfried)’s hotter than hot love interest, and absentee husband. Dominic was one of the many stars of my year’s Best Film of that year “My Week with Marilyn” playing Milton Green, Marilyn Monroe’s ex-lover and now exasperated agent. He was also one of the original “History Boys” on Broadway and in film, and has been on “The Stephen Holt Show” more times than just about any one else (in this movie).And he used to date Cher! He just told Stephen Colbert. So it must be true!