Mamma Mia! (2008)
Genre: Comedy, Musical, Romance
Director: Phyllida Lloyd
Duration: 108 min | Argentina:108 min
Country UK, USA, Germany
Actors: Amanda Seyfried, Stellan Skarsgl'rd, Pierce Brosnan, Nancy Baldwin, Colin Firth, Heather Emmanuel, Colin Davis, Rachel McDowall, Ashley Lilley, Meryl Streep, Julie Walters, Christine Baranski, Ricardo Montez, Mia Soteriou, Enzo Squillino Jr.
Oni koji ne poznaju pedere bi gledajući ovaj film rekli kako ovo i nije pederski film obzirom da se u njemu ne pojavljuje ni jedan peder!
Al da li je potrebno da u filmu ima pedera da bi bio omiljen kod gay publike? Naravno da nije! Ovaj mjuzikl ima sve ono što prosječan peder voli! Muziku, romansu, šarenilo... Dovoljno za queerovce! Već ih zamišljam kako stoje ispred ogledala obučeni u šljokice i igraju uz muziku nenadmašne ABBE!
Hehe dok ovo kucam sjetio sam se nekog lika sa Ade Ciganlije! Ima tamo neka šuma u kojoj se svašta radi! Uđeš u šumu i tražiš životinju koja je po tvom ukusu, izjebeš se sa njom i zaboraviš kako je izgledala! Idealno da zaradiš sidu ukoliko na onu stvar ne staviš automobilsku gumu!
Ja radoznao kao i uvjek odem u tu šumu da vidim te domaće životinjice i vidim jednu momčinu obučenu u trenerku, visok , muževan , ma šta da vam kažem pravi primjerak mužjaka! On namigne i krenem za njim dublje u šumu, jedva ga pratim koliko je brz i izgubim ga iz vida! Na kraju ga nađem i priđem mu! On skine trenerku i ostade u ženske čarape i neki providni triko! Pita me " Jesam li ti lepa " Samo što nije izveo/la tačku uz muziku "Dancing Queen"
Ja onako zamuckujući kažem lepa si, al ja sam ti peder od mene nemaš koristi!
Nego da se vratim na ovaj mjuzikl! Film je idealan za sve domaćice koje vole ABBU te slobodno mogu dok peglaju da izvedu svoj performance oko daske za peglanje! U prilog ovom filmu sam vam stavio i link za muziku iz ovog filma!
Što se mene tiče izgorila mi je košulja gledajući James Bonda kako mi pjeva i gleda me onim bezobrazno opasnim očima! "Darling can you hear me, S.O.S"
Đe se samo zagleda u onu rasčupanu Meril Streep pored mene živog! Žena na sceni izgleda ko travestit u poznijim godinama! A ja ovako šarmantan i seksipilan....
Pogledajte ovaj film i uživaćete u koloritu koji samo mjuzikl može da vam pruži!
There’s just no getting around the fact that ABBA’s music is infectious. The best of the buoyant pop ditties produced by the Swedish quartet in the 1970s and early 1980s are lush, catchy, and instantly memorable, even for those who profess to despise them. Even though many of their songs are about heartbreak and sadness, rarely has a pop group created a sound so consistently upbeat and joyful, which is most likely why there have been so many reports of audiences dancing in the aisles during Mamma Mia!, the nearly decade-old Broadway musical based on ABBA music that has now been turned into a movie by Phyllida Lloyd, a well-regarded theater director making a shaky cinematic debut.
Unfortunately, much like The Producers (2005), which was also helmed by a theater-trying-to-turn-film director, Mamma Mia! is a cinematic dud that is so haphazardly produced and coarse around the edges that it feels more like a rough cut than a finished product (transitions between scenes feel particularly abrupt, which makes the film feel lumpy when it should be flowing). The infectious nature of ABBA’s music, however good or badly it may be rendered on-screen by actors not usually known for their musical chops, is almost enough to disguise just how lousy the movie really is, from its paper-thin storyline to its bland characterizations to its awkward choreography that continually insists that goofy energy and wild abandon are enough (they’re not). There’s a reason for that exclamation point at the end of the title: Mamma Mia! is determined that it’s a rollicking good time, whether you’re on board or not.
One of the main problems is the story, which is cobbled together with a string of ABBA’s greatest hits (“Mamma Mia,” “Dancing Queen,” “Money, Money, Money,” “S.O.S.,” to name a few). Much like Across the Universe (2007), which attempted to do the same thing with the Beatles’ catalog and failed almost as badly, the story in Mamma Mia! is ultimately so boring and facetious that it turns every moment between musical numbers into a dry slog (plus it doesn’t have the benefit of Julie Taymor’s psychedelic viscera to keep your eyes occupied). At times the ABBA songs feel relatively organic, as if they were written with the narrative in mind, but more often than not they feel awkwardly shoehorned in, with the lyrics barely relating to the storyline and, even more disastrously, the tone being completely off. At least Taymor and company had the good sense to reimagine some Beatles songs to fit their story (such as turning “I Wanna Hold Your Hand” into a sad anthem of unrequited love); screenwriter Catherine Johnson, who also penned the stage production, is too afraid to take significant liberties with the tunes, which makes many of the musical numbers feel like karaoke renditions with no thematic or narrative depth.
For what it’s worth, the story concerns 20-year-old Sophie (Amanda Seyfried), who is about to get married and has secretly invited the three men she suspects might be her father (Pierce Brosnan, Stellan Skarsgard, and Colin Firth), none of whom she has ever met. This does not sit particularly well with her free-spirited mother, Donna (Meryl Streep), who hasn’t seen any of these men in two decades and is quite shocked to find them all at the small hotel she runs on a remote Greek island where the festivities are to take place. And, that’s about it. There is some intended comic relief courtesy of Donna’s two best friends played by Christine Baranski and Julie Waters and some unintended comic relief every time the movie tries to generate anything even remotely resembling drama.
Director Phyllida Lloyd, a veteran of the British stage who originally helmed Mamma Mia! back in 1999, clearly has little notion of how to stage a musical on screen, and as a result even the most exuberant musical numbers feel either flat or forced. The talent in front of the camera is an odd mixture, with Meryl Streep proving that she has a beautiful voice, even as her performance slides overboard in trying to convince us of her inner struggle between being a responsible single parent and a wild spirit, while Pierce Brosnan looking generally uncomfortable doing anything other than standing around and looking handsome. Amanda Seyfried makes for an amiable protagonist with a bright, clear voice, but the only time a scene really works is when Christine Baranski takes “Does Your Mother Know” and gender-reveres it into a showpiece for vibrant middle-age female sexuality. She is the only person on screen who seems to own even a single moment of this slapdash attempt to cash in on a runaway Broadway success.
01. Honey Honey - Amanda Seyfried, Ashley Lilley & Rachel McDowall
02. Money, Money, Money - Meryl Streep, Julie Walters & Christine Baranski
03. Mamma Mia - Meryl Streep
04. Dancing Queen - Meryl Streep, Julie Walters & Christine Baranski
05. Our Last Summer - Colin Firth, Pierce Brosnan, Stellan Skarsgĺrd, Amanda Seyfried & Meryl Streep
06. Lay All Your Love On Me - Dominic Cooper & Amanda Seyfried
07. Super Trouper - Meryl Streep, Julie Walters & Christine Baranski
08. Gimme! Gimme! Gimme! (A Man After Midnight) - Amanda Seyfried, Ashley Lilley & Rachel McDowall
10. Voulez-Vous - Full Cast, Philip Michael, Christine Baranski, Julie Walters & Stellan Skarsgĺrd
11. S.O.S. - Pierce Brosnan & Meryl Streep
12. Does Your Mother Know? - Christine Baranski & Philip Michael
13. Slipping Through My Fingers - Meryl Streep & Amanda Seyfried
14. The Winner Takes It All - Meryl Streep
15. When Is All Said And Done - Pierce Brosnan & Meryl Streep
16. Take A Chance On Me - Julie Walters & Stellan Skarsgĺrd
17. I Have A Dream - Amanda Seyfried