It’s been out for four weeks and finally we decide to grapple with Mamma Mia! Here We Go Again. Mike has just recently caught up with the first film, a jukebox musical that José disliked, and both are disappointed with the sequel’s lack of skill or even instinct as to what makes a musical actually work. Mike points out some elements of story structure he found original, and Jose is impressed with how the film juggles its vast cast of characters, but they disagree on Cher. (Spoiler: José really loves Cher.)
Neither comes away really having enjoyed the film, though neither is really the target audience either. But there’s fun to be had in critiquing it!
The podcast can be listened to in the players above or on iTunes.
With José Arroyo of First Impressions and Michael Glass of Writing About Film.
Sofia Coppola has a lovely ripe presence here but she’s too shy and not very good. Adolescence is an awkward time but awkwardness is the one thing she manages to convey — she makes for uncomfortable viewing and thus quite a bit of the film suffers by her presence. Talia Shire to me is as much a face of the 70s, as representative of that era, as bigger stars (The Godfather Films and the Rocky films ensure that). I love the way she grows into a Lucretia Borgia figure in this. I also love the relish Raf Vallone brings to his Machievellian churchman. Andy Garcia , whom I love to look at, is not good enough really (he suffers in comparison to James Caan. James Caan! That’s how insubstantial he is here). Yet, the film is somehow magnificent in spite of its relative inadequacies. It’s only not good in comparison to masterpieces; in comparison to what I saw in the cinema this week, it’s a masterpiece: it looks beautiful, has novelistic texture, it’s about character, has a view of life and a view of society that it articulates with grandeur. I love the helicopter shootout that wipes out a whole gang of mafiosi, and the opera scene at the end (clearly echoing the Baptism scene in the first film though not as good). Keaton has a lovely look in the film, teary, chic but somehow gemutleich and klutzy-chic. Is the steps scene inspired Cagney’s death in The Roaring Twenties? I think that here Keaton outshines Pacino but to me it’s really Talia Shire’s movie, and Coppola’s and that of the gorgeous design that is characteristic of all the Godfather films. The montage of the three films at the end, an unnecessary, elegiac and sentimental coda, seems somehow unworthy of the trilogy.