New Mamma Mia! movie poster

MAMMA MIA! THE MOVIEA new poster for MAMMA MIA! THE MOVIE has been released.

It’s the same setting as the first international teaser poster that appeared in January, but features the four male leads as well as Meryl Streep (as Donna) and Amanda Seyfried (as Sophie).

See ABBA World‘s MAMMA MIA! section for a larger version plus all the latest news.

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4 Responses to “New Mamma Mia! movie poster”

  1. Ian Cole Says:

    And here you can hear the backing tracks for ‘Mamma Mia’ and ‘Dancing Queen’.

  2. Graeme Says:

    the backing tracks for both sound just marvellous.

  3. Gustave Says:

    Hej?slut je suis francais et je suis fan de ABBA§puver vouys me donner des informations pour que je puisse mettre des chansson de ce gégnial groupe sur mon future cite http://WWW.DISCOSITE.COM

  4. Samuel Inglles Says:

    Hi IAN

    Here’s articles on ABBA and ‘Mamma Mia!-The Movie’.

    Kind Regards
    Samuel Inglles

    The Advertiser (Adelaide) – Saturday, 12 July 2008 (Page 21)

    Know before you go

    Mamma Mia! (PG). Review by Young Media Australia

    Parental guidance to 13 due to themes, sexual references and coarse language.

    In a nutshell:
    Sophie (Amanda Seyfried) is about to marry Sky (Dominic Cooper), the man of her dreams. The only thing missing from the perfect wedding that she is planning is her father. The problem is that she doesn’t know who her father is, and neither does her mother, Donna (Meryl Streep). Shortly before her wedding, Sophie discovers the diary that her mother kept the year she was pregnant and learns of three possible candidates: Harry Bright (Colin Firth), Sam Carmichael (Pierce Brosnan) and Bill (Stellan Skarsgård). Sophie secretly invites them all. Meanwhile, Donna is preoccupied with arrangements for the wedding, repairs on her ramshackle villa and the arrival of two old friends, Tanya (Christine Baranski) and Rosie (Julie Walters). She is horrified by the arrival of the three men and, not knowing that Sophie has invited them, is terrified that Sophie will find out. Donna therefore encourages the men to leave while, at the same time, Sophie is begging them to stay.

    Themes:
    Single parenthood; searching for a parent.

    Use of violence:
    None of concern.

    Material that may scare or disturb children:
    Men from the stags’ night crash a hens’ party wearing strange masks. They come from the rooftops, swooping down from all directions. Some of the women scream and scatter.

    Sexual references, nudity and sexual activity:
    Sexual innuendo, sexualised dancing, passionate kissing, partial nudity.

    Product placement:
    None of concern.

    Use of substances:
    Alcohol and tobacco.

    Coarse language:
    Mild.

    The movie’s message:
    ‘Mamma Mia!’ is a romantic musical comedy featuring gorgeous scenery, a catchy soundtrack and a well-known cast.

    The main message from this movie is that sometimes you must take a chance and risk everything in order to achieve your dreams. Values that parents may wish to reinforce with their children include determination, self-reliance, loyalty and courage. Parents may also wish to discuss the importance of communication and honesty in families.

    YMC reviews are based on child development knowledge and practice. The full version of this and more than 380 other movie reviews form part of Young Media Australia’s Know Before You Go program (supported by the attorney-General of SA). Visit http://www.youngmedia.org.au or freecall YMA 1800 700 357.

    The New York Times – Friday, 18 July 2008 (Page B1 & B16)

    Weekend Arts Movie Performances

    Does your mother know you can sing ABBA tunes? Film Review – A.O. SCOTT

    Even those of us who habitually favor serious, austere, aesthetically correct drinks – single-malt Scotch, green tea, pomegranate juice, whatever – may occasionally indulge in a frivolous cocktail bedecked with fruit and umbrellas and served in a bulbous, sugar-rimmed glass. The next morning’s headache seems a small price to pay for the rush of cheap liquor and uninhibited conviviality. As long as you don’t operate heavy machinery or wake up in the wrong bed, or operate heavy machinery in the wrong bed, what’s the harm?

    Al of which is to say: Don’t be afraid of ‘Mamma Mia!’ (That exclamation point, by the way, is part of the title, and it’s by far the most understated thing about the movie.) You can have a perfectly nice time watching this spirited adaptation of the popular stage musical and, once the hangover wears off, acknowledge just how bad it is.

    Actually you don’t have much choice on either front. If you insist on folding your arms, looking at your watch and defending yourself against this mindless, hedonistic assault on coherence, you are unlikely to survive until the end credits (which may, by themselves, kill you all over again). Surrender, on the other hand, is easy and painless. It’s Greece! It’s bellybuttons! It’s Meryl Streep! It’s ABBA!

    See that girl! Watch that scene! If you change your mind, I’m the first in line. Mamma Mia, here I go again. Like me, you may have spent the last 30 years struggling to get lines like those out of your head – and wondering what they were doing there in the first place – but you might as well have been trying to compost Styrofoam. Those shimmery, layered arrangements, those lyrics in a language uncannily like English, those symmetrical Nordic voices – they all add up to something alarmingly permanent, a marshmallow monument on the cultural landscape. When our species dies out, leaving the planet to roaches and robots, the insects will beat their little wings to the tune of ‘Waterloo’ as Wall-E and Eve warble along.

    And the darn thing still won’t make any sense. Nor does ‘Mamma Mia!,’ but that’s hardly a criticism. The story (by Catherine Johnson) is more or less an early Shakespeare comedy reimagined as an episode of ‘Hannah Montana’. The ingénue, Sophie (Amanda Seyfried), is about to be married on the sun-drenched Greek island where she lives with her mother, Donna (Ms Streep). Sophie is the just-ripe fruit of a Summer fling, with the complicating factor that Donna had three flings during the Summer in question, and Sophie doesn’t know whether her dad is Sam (Pierce Brosnan), Bill (Stellan Skarsgård) or Harry (Colin Firth). But even though she knows them only as names in an old diary, she manages to track them down and invite all three to her wedding. Lo and behold, they all show up, as do Tanya (Christine Baranski) and Rosie (Julie Walters), old pals of Donna’s from the crazy days of her rock ‘n’ roll youth.

    Just when, exactly, those crazy days were is a bit vague. A song lyric refers to the “time of the Flower Power.” (Surely you remember the flower Power!) But Sophie sure doesn’t look 40. At one point, Harry recalls the Johnny Rotten T-shirt he had back when he knew Donna, which is 10 years closer to the mark but still about 10 years off. Never mind. ABBA is timeless: “The history book up on my shelf/is always repeating itself.”

    The real problem is that the director of ‘Mamma Mia!’, Phyllida Lloyd, seems have taken the unapologetic silliness of the project (which she directed onstage) as permission to be sloppy. ABBA made some of the most highly polished, tightly engineered pop junk ever. There is a kind of perfection in some of those hits that is undeniable even if – or maybe specially if – you can’t stand to hear them. But in matters of craft and technique ‘Mamma Mia!’ proves to be remarkably shoody, a tangle of clumsy cuts, mismatched shots, bad lighting, egregious overdubbing and scenes in which characters appear to have been haphazardly Photoshopped into the scenery.

    It is safe to say that Ms Streep gives the worst performance of her career – safe to say because it is so clearly what she intends, and she is not an actress capable of failure. There is a degree of fascination in watching an Oscar winning Yale School of Drama graduate mug and squirm, shimmy and shriek and generally fill every moment with antic, purposeless energy, as if she were hogging the spotlight in an eighth-grade musical.

    She is saved, and also upstaged, by Ms Walters and, specially, by Ms Baranski, whose cougar-on-the-prowl rendition of ‘Does Your Mother Know’ is the one genuinely, show-stoppingly sexy sequence in a film that more often frails between forced cheekiness and unearned sentiment.

    I know: I promised you a good time, and I’m describing a train wreck. But it’s hard not to share the evident delight of most of the performers. Ms Streep overdoes it, yes, but you can’t accuse her of condescending to the material any more than you can fault her for taking it too seriously.

    The impression left by the old pros who make up most of the cast is that they have nothing to be ashamed of and nothing to prove, and that worrying about dignity is for newbies and amateurs. So Mr Brosnan bellows his way through a couple of duets, Mr Skarsgård displays his tattooed buttocks, and Mr Firth consents to appear in a spiked dog collar.

    Ms Seyfried has a harder time though not for any lack of effort or talent. She has to work while the old timers are having fun, and to carry the picture’s unconvincing, flat-footed attempts at melodrama. Ms Seyfried’s eyes are as blue as the Aegean and almost as wide, and her natural vivacity makes her performance seem almost authentic, but she’s not in a position to let her vanity and clown around.

    It’s one thing to ham it up in a zany, messy musical if you’re the actual Meryl Streep. If you have the desire (or the potential) to be the next Meryl Streep, the stakes are higher and the risks more pronounced.

    But Ms Seyfried, who has proven her skill on ‘Big Love’ and elsewhere, is likely to emerge from ‘Mamma Mia!’ unscathed. Really, this movie is incapable of harming anyone, except moviegoers with the good taste and bad manners to resist its relentless, ridiculous charm.

    ‘Mamma Mia!’ is rated PG-13 (Parents strongly cautioned). It has some sexual references and sexy behavior.

    ONLINE: Stage and Screen – Musical sequences from the film version of ‘Mamma Mia!’ and a review of the theatrical production:
    nytimes.com/movies

    Mamma Mia!
    Opens on Friday nationwide.
    Directed by Phyllida Lloyd; written by Catherine Johnson, based on the original musical book by Ms. Johnson, originally conceived by Judy Craymer based on the songs of ABBA; director of photography, Haris Zambarloukos; edited by Lesley Walker; music and lyrics by Benny Andersson and Björn Ulvaeus, some songs with Stig Anderson; choreographer, Anthony Van Laast; production designer, Maria Djurkovic; produced by Ms. Craymer and Gary Goetzman; released by Universal Pictures. Running time: 1 hour 48 minutes.

    The Daily Telegraph – Thursday, 24 July 2008 (Pages 64 & 65)

    Top Ten – Australian Box Office
    1. The Dark Knight – Weeks: 1 – This weekend: $11,779,716 – Total: $14,057,430
    2. Mamma Mia! – Weeks: 2 – This weekend: $4,048,272 – Total: $12,223,863
    2. Hancock- Weeks: 3 –
    Source: MPDAA

    Top Ten – US Box Office (US $)
    1. The Dark Knight – Weeks: 1 – This weekend: $158,411,483 – Total: $158,411,483
    2. Mamma Mia! – Weeks: 1 – This weekend: $27,751,240 – Total: $27,751,240
    2. Hancock- Weeks: 3 –
    Source: Box Office Mojo. (www.boxofficemojo.com) US

    The Sydney Morning Herald – Saturday, 26-27 July 2008 (Pages 8 & 9)

    ARTS & ENTERTAINMENT: Music

    Loony tunes: Why do songs like ABBA’s burrow into your brain and drive you crazy? Blame the earworm. By Sarah Rodman

    It takes only a single exposure and in an instant your whole day can change. The infection is rapid and feels potentially unending. One minute you’re minding your own business and the next you find that you can’t stop thinking, humming or singing ‘Dancing Queen’.

    Friday night and the lights are low…

    No matter what you try, you can’t shake it. In fact, once you start thinking of ABBA, you’re a goner. Next thing you know, you’ve moved to this: ‘”If you change your mind/I’m the first in line…”

    And as the lyrics to ‘Waterloo’ remind us, you couldn’t escape if you wanted to. What triggers this phenomenon isn’t always obvious but it’s no doubt about to happen on a widespread scale.

    ‘Mamma Mia!’, the film based on the stage musical built around ABBA songs, is showing now. As people leave the cinema belting out the tunes sung by Meryl Streep, Pierce Brosnan, and Colin Firth, the ABBA invasion will begin anew.

    “Mamma Mia, here I go again/My, My, how can I resist you?

    ABBA’s songs endure as what scientists have dubbed “earworms” 35 years after the band’s first album was released. Like those little bugs, the tunes burrow into our brains and keep hitting the repeat button. Even those who profess to dislike the cherry pop of the Swedish masterminds can’t block its infiltration into their inner jukebox.

    Of course, what makes ABBA songs catchy is to an extent what makes most music memorable, from Bach to the Beatles. But, says Daniel Levitin, author of ‘This Is Your Brain On Music: The Science Of A Human Obsession’ and associate professor at McGill University in Montreal, there are some individual factors. “For one thing, the way their songs are performed and produced, quite apart from the underlying composition, gives them an overall catchy sound,” he says.

    Levitin is a musician and former producer whose next book, ‘The World In Six Songs: How The Musical Brain Created Human Nature’, further explores the music-mind connection. The multi-tracked harmonies of singers Agnetha Fältskog and Frida Lyngstad awaken the part of our brains in which our inner caveman is still enjoying a Paleolithic hootenanny with the rest of his clan.

    “If you look at the evolutionary biology of the species and the chemical reactions we have to events in the world, for tens of thousands of years when we as a species heard music, we heard groups singing it, not an individual and not and not an individual standing on a stage,” Levitin says. “So the ABBA model of the multiple voices or the Edwin Hawkins Singers singing ‘Oh Happy Day’ is much closer to stimulating these evolutionary echoes of what music really is, fundamentally – closer than, say, Frank Sinatra or Miley Cyrus.”

    In other words, if a caveman encased in ice were to be thawed out, revived and given a full ipod, he would respond more immediately to ABBA or a gospel choir than, say, free jazz. He might eventually dig Ornette Coleman, too, but the presentation of ‘Knowing Me, Knowing You’ would sound more familiar.

    The glossy production and compositional patters of Sweden’s fab four also set off different neurological reactions that have medicinal powers. In the most upbeat of the group’s songs, such as ‘Money, Money, Money’, the simplicity of ABBA’s lyrics makes them easy to sing along to. In addition to the fizzy melodies, that participation, says Levitin, gives listeners “an even more powerful hit of happy juice in the brain from dopamine”.

    With sad songs in general, and in ABBA’s case specifically with tracks such as the more contemplative ‘The Winner Takes It All’, listeners’ brains produce an opposite but equally enjoyable reaction.

    “You get the comfort hormone of prolactin when you hear sad music,” Levitin says. “That’s the same hormone that’s released when mothers nurse their babies. It’s soothing. And sometimes, it’s lyrics and sometimes it’s music. I think it’s most powerful when the two are well-matched and you get what I would call an emergent property where the whole is greater than the sum of its parts.”

    Structurally, ABBA’s songs, like most enduring pop songs, generally offer a straight forward verse-chorus format that satisfies our need for order.

    “Whether they sat down and counted and said, “This can’t be nine measures, it has to be eight’ – they probably didn’t but they probably wrote eight because in Western music we are used to that balance,” says Jon Aldrich, associate professor and founder of the songwriting department at Berklee College of Music in Boston.

    And the main piece of the brain puzzle is the simplest of all: repetition, repetition, repetition. In the grand tradition of everyone from Beethoven (and his hook-filled Fifth Symphony) to the dude who wrote ‘Who Let The Dogs Out?’, ABBA songwriters Benny Andersson and Björn Ulvaeus recognised the power of telling us something as often as possible. Like the Beatles before them – “She loves you/yeah, yeah, yeah” – they also recognised the importance of making that something not so complicated: “Gimme, gimme, gimme a man after midnight…”

    “If you really want to know what makes a song powerful, I would say look at how the memory works,” says physiologist Harry Witchel, a senior research fellow at the Medical School of the University of Bristol in Britain, who ranked ‘Waterloo’ as the all-time No. 1 Eurovision Song Contest winner for the BBC. “Memory works either through strong emotions or through repetition – that’s how we normally teach. And ABBA songs allow for both of those things to occur.”

    We hear the words repeatedly, start to sing along, relate to the words and tunes emotionally with either a happy or sad reaction, and thus an earworm is born. Witchel adds that the simplicity of the lyrics, the small number of syllables in the hooks and the consistent backbeat all factor into the insidious nature of the tunes.

    In ‘Musicophilia’, his new book about music and the brain, Oliver Sacks supports this claim. “There are, of course, inherent tendencies to repetition in music itself,” he writes. “Our poetry, our ballads, our songs are full of repetition; nursery rhymes and the little chants and songs we use to teach young children have choruses and refrains. We are attracted to repetition, even as adults; we want the stimulus and the reward again and again, and in music we get it.”

    All of these elements are in no way unique to ABBA, Levitin says. Berklee’s Aldrich agrees. “If you study it intimately, you will find
    there’s a tremendous amount of repetition in song style and form that really hasn’t changed much at all in 70 years,” says Aldrich, citing Tin Pan Alley scribes such as Cole Porter and even classical composers such as Handel as using similar approaches.

    Phyllida Lloyd, director of ‘Mamma Mia!’ and a veteran opera director, doesn’t need a scientist to explain why ABBA songs are so infectious. “I think it’s a combination of things,” she says. ‘I think it’s genius melodies by Benny Andersson and really quite deceptively complex and intricate orchestration. They were sort of masters of studio production and they used every gizmo in the book at the time available to man, including a very ornate use of vocal harmony and words used partly as orchestration.”

    Lloyd is living proof that an inability to shake ABBA has no long-term side effects. Having had one or another of the songs in her head for the past ten years as she shepherded ‘Mamma Mia!’ onto London’s West End, Broadway and the big screen, she says her sanity is perfectly intact. “You wouldn’t think so, would you? Questions ought to be asked,” she says with a laugh. “I find that you just don’t tire of them.”

    Photo of ABBA from 1978: It’s all their fault… ABBA give the brain a powerful hit of “happy juice”.

    The Boston Globe

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