Mamma Mia Here We Go Again How Long
Don't go wasting your emotion. There'due south no use getting upset about the sloppy framing of something similar Mamma Mia! Here We Go Again, the cinematic equivalent of a golden retriever puppy—panting, happy-get-lucky, near pathologically eager to delight. It's got catchy tunes, and sunny skies, and the widest bell-bottoms in all the land; information technology casts Andy García every bit a mysterious hunk named Fernando, solely for the purpose of carting out Cher to belt ABBA's 1976 hit "Fernando." It gives the people what they want.
But still: Mamma Mia! Here We Go Once more—which should ideally be referred to by its complete canonical title, exclamation point included—plays fast and loose with time and space, plenty to occasionally distract from the moving-picture show's myriad pleasures. At to the lowest degree, if you're the kind of nut who's kept awake at dark by questions virtually how the cars in Cars make baby cars. (Warning: spoilers and excessive pedantry follow.)
The trouble starts in the film'southward Godfather: Office II-esque flashbacks, which illustrate that crazy summer when Donna Sheridan (in her younger years, played past Lily James; in her older years, played by a pair of overalls filled with Meryl Streep) found beloved three times over with a trio of eligible foreign bachelors. Her story begins in May or June of 1979, when she's somewhere around 22 years old—which we know because of a helpful chyron that appears on-screen merely before Young Donna unleashes a problematic ABBA B side at her higher graduation.
The year 1979 is perfectly fine; just ask Baton Corgan. Notwithstanding! Donna's wild youth was besides the focus of a musical number in the kickoff movie: "Our Terminal Summer," sung sweetly in that film's present day past her grown-up suitors. (Yeah, fifty-fifty Pierce Brosnan.) According to Nib, the crumbling Casanova Stellan Skarsgård plays, their trysts with Donna happened during "the time of the Blossom Power," which would really place their concluding summer sometime long before 1979—in the late 1960s or early on 1970s, according to my precise, scientific calculations. Brief flashes of Brosnan and Skarsgård in young-person drag also support this thought; they're dressed similar regulation hippies.
"Our Last Summer" may not be entirely reliable; it does, subsequently all, encourage us to rhyme "Seine" with "rain." But the timing it implies actually makes more sense than the timeline established in the second movie, since Skarsgård, Brosnan, and Streep are all in their mid- to belatedly-60s in real life, and would therefore have been appropriately bright-eyed and bushy-tailed during that earlier era. Only none of these people were anywhere close to 22 in 1979, every bit Donna apparently was. (Colin Firth, who plays the third man in Donna's life, is only 57—a relative spring chicken, though still not quite old plenty to brand the timing work. Perhaps that's why Brosnan and Skarsgård are given groovy wigs in their flashback, but Firth is made over as a Johnny Rotten-loving punk—an emissary of still another era.)
Even so! To complicate matters further, in the first moving-picture show, Donna'southward girl, Sophie (Amanda Seyfried)—the result of one of her Last Summer trysts—is supposed to be xx years old. And that picture came out in 2008. And 2008 does not come xx years after the late 1960s or early 1970s, or even 1980, when Sophie was actually born, according to the new moving picture's chronology. And while it's perfectly possible that Mamma Mia! was released in 2008 but not set up in 2008, there's no indication in the moving picture itself that we're meant to exist watching a period slice, unless the flow in question is "fever dream, circa anytime." Could information technology be that the start film is actually set in 1999, when the stage version of Mamma Mia! premiered in London, or 2001, when it premiered on Broadway? It is literally incommunicable to know for certain.
However! It's as well nigh on impossible to determine how much fourth dimension has elapsed betwixt the events of Mamma Mia! and the events of Here We Get Again. In real life, information technology's been x years; in Here We Get Again, everyone certainly looks like they've aged about a decade. In that location'southward a whole comic gear up piece about it, when a passport-taker riffs at excruciating length about how vicious time has been to poor Skarsgård!
Yet Pecker, at one signal, says that he's a human in his fifties, implying that Skarsgård is playing someone significantly younger than the histrion is in real life—which fits the timeline established in Here Nosotros Get Again, but does not fit the evidence before our very eyes. And at some other betoken, Sophie tells Cher's character—who plays the Sheridan family unit dame—that she'southward "virtually 25 years also late" to start acting similar Sophie's grandmother. Which would bespeak that just five years have passed between movies.
Nonetheless! If that'southward truthful, and information technology'due south therefore supposed to be 2005—co-ordinate to Here We Go Again's retconned timeline—how does Pecker'south female associate have an iPhone, a device that wasn't released to the public until 2007? Did she get an early on prototype because Bill has been named Earth'due south Greatest Swede, or whatever the fabricated-up award that almost prevents him from coming to Sophie's aid is called? (Side note: was that literary distinction, bestowed by some sort of Swedish university, supposed to be . . . the Nobel Prize?!)
Plus: Cher—her character has a name, but let's exist existent: who cares?—says that she met Fernando in Mexico in 1959, a year in which Cher herself was 13, and Andy García was all of three years old. But why would the movie work so hard to age these characters up, while simultaneously desperately trying to age downwardly the Meryl generation? What was in the air that night, Fernando?
And speaking of which: Have we collectively decided not to be bothered almost the fact that 72-year-old Cher is apparently onetime plenty to be 69-year-one-time Meryl Streep'due south female parent, and 32-yr-old Amanda Seyfried's grandmother? She's too immature to play even 25-yr-old Sophie Sheridan'southward grandmother, if Sophie is in fact 25!
Not to mention: Has Christine Baranski seriously had that same crisp Velma Kelly bob for the by 25, thirty, or 39 years, depending on how we're counting? I mean, what are nosotros to believe—that this is some sort of a magic xylophone or something?
And then, yes: the simply possible determination is that the Mamma Mia! movies take place in a fabulous, dominicus-soaked wormhole, a Mediterranean under realm beyond the limitations of what we mortals know as "time." That, or thrillingly lazy screenwriting. The prosecution rests.
Meryl Streep and Cher: A History
Past Richard Immature/King/Shutterstock.
Mamma Mia! 2 Globe Premiere
July xvi, 2018.
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Source: https://www.vanityfair.com/hollywood/2018/07/mamma-mia-here-we-go-again-timeline-what-year-is-it
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