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Casting is another flaw. Note to filmmakers: Ideally, it's good to cast actors who can sing in a musical. Both Seyfried and Christine Baranski (as Donna's sexy friend Tanya) show enough experience to land them regular Broadway gigs, but Streep is more hit-and-miss, which is problematic since she's the leading lady. Her voice ranges from karaoke to trained singer—sometimes singing smoothly, sometimes screechy. I'm honestly torn between calling her climactic performance of "The Winner Takes It All" the film's emotional highpoint and a glaring example of over-emoting.

Dominic Cooper plays Sky

At least Steep's vocal performance is passable, which is more than I can say for the embarrassing singing from the men. Firth comes off the best with his brief-but-pleasant contributions, and Skarsgård is also wisely limited to a few lines. But Brosnan delivers his two solos with the precision of a foghorn. (If they wanted a Bond who could sing, they should have tapped Sean Connery or Timothy Dalton.)

And then there are the mixed messages. Much like Grease, this musical seems well intentioned and wholesome at face value. But in the end, we're left with a story that uplifts premarital sex while trying to have it both ways by also endorsing marriage and the role of a father in parenting. In one sense, the movie seems to be saying that marriage is honorable and it's important to grow up with a father. A heartbeat later, it suggests that living together is just as good, and fathers aren't necessary.

Mamma Mia! has already proven itself a successful stage musical, and could have worked on screen if it were played with a similar tone. Or consider last year's adaptation of the musical Hairspray, which was campy and kitschy in many ways, yet also genuinely sweet, poignant, and clever in its execution on the big screen. This film, however, amounts to little more than middle-aged actors behaving silly on camera—whether falling into water, wearing bad wigs, or giggling like 10-year-old schoolgirls. It's a frustrating movie musical that sacrifices music and story for the sake of eye candy.

>Talk About It

1. Sky tells Sophie, "You don't need a father, you have a family." Does Sophie need a father figure? Do you believe this movie promotes the need for a paternal presence, or is it saying that fathers are unnecessary? If possible, provide examples of both and decide which conclusion the story supports.
2. Donna tells her friends that she's given up her wild ways and grown up. Are there ways in which she still needs to grow up, or is she simply a free spirit? In what ways does she mature within the scope of this film?
3. How might all the paternal confusion in this story have been avoided in the first place? Does Mamma Mia! promote premarital sex? If so, why do you think the story justifies that in light of the consequences shown? Or do you feel it simply dismisses the consequences?
4. In what ways does Mamma Mia! honor the institution of marriage? In what ways does it dishonor it? How does the Christian understanding of marriage compare and contrast with what is demonstrated in this film?
5. In your opinion, which of the three potential fathers responds most honorably?

The Family Corner

Mamma Mia! is rated PG-13 for "some sex-related comments." By "some" they mean a lot of sexual innuendo, much of it in reference to Donna's wilder younger days. For example, characters ask each other if they're "getting any" or suggest a guy could floss his teeth with a pair of women's briefs. No characters have sex within the movie or the story, but the musical numbers are somewhat risqué with guys dancing around in skimpy swim trunks and women groping some guys at a bachelorette party. Additionally, a man is briefly seen naked from behind. There's also an implied homosexual relationship, but no kissing or sex involved. The film generally refrains from profanity, though several characters exclaim, "Oh my God!"

Photos © Copyright Universal Pictures

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