Mamma Mia!

[CACO/CAMPOS]

Meryl Streep lança 'Mamma mia!' em Londres

Atriz protagoniza musical, que estréia no Brasil em agosto.
Astros como Tom Hanks e Pierce Brosnan também comparecem.

Em Londres, a atriz Meryl Streep lança o longa-metragem "Mamma mia!", que chega aos cinemas brasileiros dia 15 de agosto; amigo da estrela, o ator Tom Hanks também prestigiou o evento, no Leicester Square 

Pierce Brosnan e Amanda Seyfried, que também integram o elenco de "Mamma Mia!", compareceram à première londrina do musical, que usa canções do grupo ABBA para contar um drama familiar

[Van]

Bah, vi o trailer no cinema quando fui assistir Sex and The City, e fiquei assim

 

Não vejo a hora de assistir!

 

AMO ABBA!!!!

[Andy_83]

esse será o filme mais gay de 2008 

 

[-felipe-]

 

 

O que é essa cara de Tio Sam do Tom Hanks?

 

 

Edit:

 

Um featurette da E! sobre o filme: http://www.youtube.com/watch?v=yOPMgR4QHsc&NR=1

 

E um outro trailer: http://www.youtube.com/watch?v=YBFccOLPHmM&feature=related

-felipe-2008-07-03 09:10:17

[Beckin]

Não é o meu estilo de filme' date=' mas fico feliz caso faça sucesso por causa da Amanda Seyfried. Se eu for assistir vai ser por ela mesmo

 

Falando nisso saíram músicas da trilha sonora, incluindo um clipe que fizeram pra divulgar o filme:

 

 

http://www.youtube.com/watch?v=V-Gdyuz57M0&feature=related

[/quote']
Que estilo? Comédia-romântica musical baseada em canções do ABBA?
.

 

É, já não sou muito fã dessas coisas separadas, juntando isso e colocando ABBA no meio então fode tudo

[-felipe-]

A legend lightens up             She has played a concentration camp survivor and a working-class whistleblower, but in Mamma Mia! Meryl Streep sings, dances - and does the splits. Stuart Jeffries hears about women in Hollywood and why Abba are more important than we think             Wednesday July 2, 2008 The Guardian             'I keep getting asked about the scene with the splits' - Meryl Streep. Photograph: Daniel Deme/EPA     The interview with Meryl Streep doesn't start well. "Do you know who Alan Partridge is?" I ask. "Isn't he that MP who said he has bulimia?" she replies. Unfortunately not. I explain that he was a character who had a satirical chatshow on British TV called Knowing Me, Knowing You. Streep giggles at the reference to an Abba song. So, I say, I'm just going to introduce you the way that Partridge would introduce his guests. Streep's right eyebrow rises. She's either intrigued or about to call security. Here goes. "Knowing me, Stuart Jeffries; knowing you, Meryl Streep, a-hah!" I lean forward and make an ushering gesture.

Streep cracks up. Her extraordinary cheekbones become even more

accentuated and she laughs in a delightful girlish way. "No," I say,

"you're supposed to reply" - "A-hah!" Streep interrupts gamely. That's

it! "Hey, thanks," she says, "if I'm on his show, I'll remember that."

The show doesn't exist any more. "Oh," says Streep.

We're

in this swanky suite in a Knightsbridge hotel to discuss her role in

Mamma Mia! (their exclamation mark, not mine), a film version of the

musical in which Streep plays an older woman called Donna who runs a

B&B on a Greek island which has been infected by a terrible plague:

nobody can stop singing Abba songs, until some god, in the form of the

end credits, intervenes.

When Donna's former lovers (Pierce

Brosnan, Colin Firth and Stellan Skarsgard) are lured to the island

like latter-day Odysseuses, they too fall prey to the disease. The men

stay for the wedding of Donna's daughter, who one of them fathered 20

years before. Donna isn't sure which and the audience's task is to care

about this question of paternity. Donna's sex life in the intervening

years has been less interesting.

"She really isn't getting any,"

says Streep, "and she's deluded herself she's OK with that." Does her

character succumb to James Bond, Mr Darcy or a horny Swede in the last

reel? Oh, have a guess. What we can say is that in the film, Streep,

Christine Baranski and Julie Walters form a kind of Golden Girls trio

(Streep is Bea Arthur to Walters' randy Rue McLanahan), each seeking to

get their mojo back.

The number of people not aware of how this

story ends diminishes daily: across the globe, more than 17,000 people

see the show each night. Before Phyllida Lloyd directed this swift,

spirited movie version, 30 million people had seen the stage show and

it had grossed more than $2bn at the box office.

Streep is the

film's heart, and its revelation. She sings! She dances! She does the

splits! She confers on her role a dignity that miraculously stops the

movie collapsing into mere camp!

"I keep getting asked about the

scene with the splits," says Streep. She does look amazingly limber

when, mid-song, wearing dungarees, she jumps on a bed and flicks out

her legs to meet her outstretched hands like a teenage cossack. "They

ask - was there a body double?" she says. "Yeah, right! Or was it CGI?

Of course! They grafted my face on to Olga Korbut's body." She's

joking. Note to younger readers: Olga Korbut was an adorable, Olympic

gold-winning Soviet gymnast of the early 1970s, who will always be

remembered in her teenage state; Meryl Streep is an actor who turned 59

barely a week ago.

What really happened? "I just did the splits

on instinct. That's what always happens with my acting. As an actor,

you're not allowed to think. I couldn't do the splits for you right

now." Couldn't you just try? "No," says Streep firmly. She also refuses

to reprise that moment in the film that made me laugh out loud, namely

when she poutingly sings the first lines of Super Trouper ("I was so

sick and tired of everything/When I called you last night from

Glasgow.")

Marvellous. But some critics don't think so. In press

screenings there are murmurs that to be singing karaoke Abba songs in a

relentlessly cheerful Hollywood musical is a terrible career misstep.

After all, Streep is renowned for much more substantial roles. She won

an Oscar for her performance in the heart-rending divorce drama Kramer

Vs Kramer (1979) and another for her performance as a concentration

camp survivor in Sophie's Choice (1982). She was a melancholy outcast

in a doomed affair with Jeremy Irons (The French Lieutenant's Woman,

1981); a metallurgist at a plutonium plant possibly murdered for

whistleblowing about worker safety (Silkwood, 1983); a Danish

baroness-cum-farmer having another doomed affair (Out of Africa, 1985);

an Australian mother who claimed a dingo took her baby (A Cry in the

Dark, 1988); a Virginia Woolf-loving publisher nicknamed Mrs Dalloway

whose friend is dying of Aids (The Hours, 2002).

If there is a

gap in her remarkably varied oeuvre, it's high jinks. You might be

forgiven for thinking that Meryl Streep doesn't do jaunty. Until now.

Isn't

this role beneath you, I ask. "I'm not strategising my career moves at

all," replies Streep. "I haven't got a career that I'm building. When I

swim my 55 laps, I try to remember the movies I've been in order, and I

can't ... the past is just a miasma. There's no career path.

"I

just want to do things that are valuable to introduce into the

culture," she continues. "This film [Mamma Mia!] is a valuable thing. I

knew it when I saw it."

Streep first saw Mamma Mia! on Broadway

seven years ago. She was in a bit of a pickle. She had to dream up an

excursion for some friends of Louisa, the youngest of her four children

by husband Don Gummer, the sculptor to whom she has been married for

the past 30 years. Only one problem: it was October 2001 in Manhattan.

"Everybody

was really dimmed spiritually after 9/11. I thought, 'What am I going

to do with the kids?' So I took all these 10-year-olds to see a matinee

of Mamma Mia!. They walked in and they sat there with their heads in

their hands. Dimmed is the word - they were sad all the time, you know?

The first part was really wordy, and then Dancing Queen started up. And

for the rest of the show they were dancing on their chairs and they

were so, so happy. We all went out of the theatre floating on the air.

I thought, 'What a gift to New York right now'." She sent a thank-you

letter to the cast.

Producer Judy Cramer and director Phyllida

Lloyd saw it, and mentally filed it away. They knew that Mamma Mia!

would one day be a film. They also knew that Streep had sung with great

charm in both Postcards from the Edge and A Prairie Home Companion.

Putting two and two together, they realised that Streep would some day

be a bella - and perhaps even a prima - Donna. And so she is.

Streep

tells the story rather differently. "Judy had seen me as Mother Courage

in Tony Kushner's production [of Bertolt Brecht's Mother Courage and

Her Children] in Central Park the year before last. That's what made

her know I was destined to be Donna." How weird - from Brecht to Benny

Andersson and Björn Ulvaeus .

But why did she accept the role?

"It's a requirement of popular culture that you strike an ironic

distance. This doesn't. It's a film about women and their whole

experiences being hopeful and youthful and older and suffering the

regrets that you have over a long life. It's visceral and I love that."

I

have a different idea as to why Streep was seduced into playing Donna.

It was to prove Pauline Kael wrong. Years ago Kael, the late, massively

influential New Yorker film critic, wrote that Streep only acted "from

the neck up".

Kael's bile hurt Streep. "It killed me," she once

said. But at least, I suggest, by taking this role in Mamma Mia! you

are, in a very literal, high-kicking way, proving Kael wrong. Few

59-year-old screen actors seem as lively from the neck down as she does

as Donna.

"I'm incapable of not thinking about what Pauline

wrote," Streep replies seriously. "And you know what I think? That

Pauline was a poor Jewish girl who was at Berkeley with all these rich

Pasadena Wasps with long blonde hair, and the heartlessness of them got

her. And then, years later, she sees me."

For the record, Meryl

Streep is no Pasadena Wasp: she was born in Summit, New Jersey in 1949,

to a commercial artist called Mary and pharmaceutical executive called

Harry. Her ancestry is a mixture of English, Swiss, Irish and Dutch. On

her father's side she can trace distant Sephardic Jewish ancestors from

Spain. But she still has long blonde hair.

"Look, we make these

associations," says Streep. "Pauline had a visceral dislike of me and

there's no movie I could have done to stop that. She made up a person

that I'm not."

But Kael also underestimated Streep's talent.

Replying to Kael's criticism, a more generous critic, Molly Haskell,

recently wrote of Streep that: "To the extent she does deflect

attention from the body to the head, it's not just in the interest of

accents, hair, gimmicks: it's because the lady thinks. Her characters

can have more than one idea in their heads at a time." Haskell argues

that Streep remains singular among great film actresses. Bette Davis,

Joan Crawford, or Katharine Hepburn each had a recognisable voice, a

way of reading a line, certain expressions that remained constant from

film to film. Similarly, with modern film actresses such as Susan

Sarandon, Julianne Moore or Glenn Close we know what we're going to

get. With Streep, there is no predictable set of characteristics.

Streep

balks at this suggestion that she is so protean an actor that there are

no constant traces of herself in her characters. "I see myself in

everybody I play. I think I'm like them, I really do." She pauses for a

second, looking down at her lap. "What I try to do is deepen the

humanity of each woman that I play."

Why would you want to do

that? "It comes from some kind of aggrieved part of my childhood where

I felt disregarded - not by my parents - so that I needed to question

things and show a woman who is saying: 'I'm not what I look like. I'm a

different thing.' I've played so many different women of different

ages, and everybody always mentions all those different accents I do,

but I'm always playing different aspects of me. I'm not looking it up

in a book."

And yet the notion persists that Streep is a chilly

actress, a robotic performer. To be sure, that's not true of her

performance in Mamma Mia!. And yet Donna is also hardly the kind of

tough, complex, challenging woman whom actors of Streep's generation

revelled in playing in the 1970s and 1980s. Hollywood has stopped

putting intelligent, difficult women on screen. As Haskell points out,

time was when Sigourney Weaver, Jane Fonda, Sally Field, Sissy Spacek

and Meryl Streep played "whistle-blowers, union organisers,

anthropologists, hookers, and writers with raised consciousnesses, in

movies of substance that would never get past a story conference today".

What

happened to all those strong celluloid women? "It's a very big

question," says Streep. "Women's real change in our society has been

disruptive, but feels evolutionarily necessary. So now 60% of the kids

in college are women. More than 50% of medical students are women.

They're not at the top in government and business, but there is real

change and I think that has terrified everybody. It's terrified men and

it's terrified women." As a result, she thinks, "women have performed a

compensatory step back". Streep starts imagining out loud what the

women who have made that step back tell themselves. "'I won't be sexy

if I'm this - even though I want to be paid an equal amount, I still

want to appear sexy, I still want to appear fragile, so I'll lose

weight.' That's my theory about what women are doing anyway."

How

does this theory play out in Hollywood? "Before the war," says Streep,

"there were strong women in cinema played by women like Barbara

Stanwyck, Hepburn and Crawford, who were allowed to be strong and

dominate movies because they were in no way a threat. In the real

world, the characters they played were a fantasy. Basically, women were

at home. When the second world war - in which women had been working

and liked working - was over, in the 50s, suddenly there was Marilyn

Monroe, Jill St John and Brigitte Bardot because women could not be

seen as strong any more. And that was because, in the real world, it

was no longer just a fantasy that there were strong women."

But

why did the era of the 70s and 80s, when there were once more strong

roles for women in Hollywood, come to an end? I can understand why men

might be terrified of strong women, but why would women find them

frightening too? "Because," says Streep, "women want to be with men."

She starts to laugh and shrugs as if to say - it happens. "You're so

slow!"

But where does all this leave Streep's most recent film

successes, for example The Devil Wears Prada (2006). Didn't she there

give us a disturbing portrait of a cruel woman from hell, namely

fashion mag editor Miranda Priestly? Wasn't she designed to make us

more terrified of strong women than we were already?

"I think

it's the opposite. It's an unusual film because it's very hard for men

to feel through a female protagonist, to feel their way to what a woman

feels. But men just don't want to do it. Who knows why? Maybe it's just

uncomfortable for them. But with The Devil Wears Prada, many men loved

the Priestly character because they thought: 'That's me. I'm

misunderstood. All I want to do is run things cleanly and clear away

the bullshit. ' A lot of people feel that - underappreciated in the job

they do. But it's so rare for men to empathise with a woman's plight."

"The relationship between men and women is key to what's going on," she continues.

"I

think it's really behind a lot of what we call fundamentalism." What

sort of fundamentalism do you mean? "I was thinking of the Pope saying

women can't be priests. That's fundamentalism. I don't understand that.

I really don't. I don't feel lesser ... I'm very strong and capable and

smart, and I can't imagine why you've got to be led to heaven by your

husband. I just don't get it."

A PR minder comes in and says

there's time for one more question. It proves to be the worst of the

interview. Is there any reason to hope that our evolution will be more

comfortable gender-wise than it has been hitherto? That girlish laugh

sounds again. "Well, we can all stay friends and have sex, it seems to

me." Let's hope. Indeed, that does seem to be the moral of Mamma Mia!,

if you care to seek a moral at all.

Minutes later I'm walking

down the street laughing. Not at Streep's views on the evolutionary

ramifications of gender struggle, but at something else she said. As I

walk past Harrods, I play back the tape and hear her say "a-hah!" It

slays me.

 

 

[pantalaimon]

preguiça total de ler!;D

[CACO/CAMPOS]

Protagonista de Mamma Mia! é boicotada por gays
(14/07/2008 - 14h24)

Da Redação www.cineclick.com.br

 

Amanda Seyfried em
Mamma Mia!

Amanda Seyfried (Meninas Malvadas), protagonista do musical Mamma Mia!, não agradou. A atriz deixou de participar de um festival de filmes com tema homossexual neste domingo (13/7) e foi boicotada por um grupo de gays ativistas.

No evento, Amanda teria que apresentar o longa para o público e depois atender a imprensa, tirar fotos e participar de comemorações na Outfest, em Los Angeles. Mas a atriz apenas fez a introdução do musical e foi embora.

A coluna New York Gossip do jornal Page Six, um dos organizadores do evento, comentou o ocorrido. "Eu fui pego de surpresa. Não houve qualquer explicação", confessou.

Um fã mais ardoroso afirmou que Amanda foi desrespeituosa. "Como ela pode desrespeitar os gays dessa forma? Esse era o nosso filme!", longa, a maioria do grupo Abba, têm grande apelo entre o público homossexual.

A representante da atriz, em comunicado, declarou que Amanda não foi convidada para o evento de gala. "Ela se ofereceu para vir e apresentar o filme e quanto a isso fez um grande trabalho. Não havia uma cerimônia mais formal que essa", explicou.

O filme é uma adaptação do famoso musical que está há dez anos em cartaz nos Estados Unidos e conta a história da noiva Sophie (Amanda), que tenta descobrir a verdadeira identidade de seu pai. Ela decide convidá-los para o casamento, sem saber qual dos três pode ser seu pai.

Meryl Streep (Leões e Cordeiros), Pierce Brosnan (007 - Um Novo Dia para Morrer), Stellan Skarsgard (Exorcista: O Início) e Colin Firth (O Diário de Bridget Jones) também estão no elenco.

Mamma Mia!, com direção de Phyllida Lloyd, estréia dia 15 de agosto deste ano

[pantalaimon]

nao entendi nada!o.o'''

[Administrator]

 

O filme arrematou 24 milhões de dólares em sua abertura (que ocorreu fora dos EUA!)... Sucesso comercial para Meryl. 

Sorento2008-07-14 23:03:41

[pantalaimon]

ja?isso fora dos eua?ta otimo!

[CACO/CAMPOS]

Mamma Mia! vence nas bilheterias do Reino Unido
(16/07/2008 - 12h45)

Da Redação www.cineclick.com.br

 

Cena de Mamma Mia!

O musical Mamma Mia! ficou em primeiro lugar entre os filmes mais vistos neste fim de semana no Reino Unido, informou a Screen Internacional nesta terça-feira (16/7).

O filme conseguiu tirar Will Smith (Eu Sou a Lenda) e seu herói Hancock da primeira posição apenas uma semana depois de sua estréia. Mamma Mia! arrecadou 5,2 milhões de libras, enquanto Hancock somou mais 3,6 milhões de libras.

No elenco de Mamma Mia! estão os atores Meryl Streep (Leões e Cordeiros), Pierce Brosnan (007 - Um Novo Dia para Morrer), Stellan Skarsgard (Exorcista: O Início), Colin Firth (O Diário de Bridget Jones) e Amanda Seyfried (Meninas Malvadas).

O filme é uma adaptação do famoso musical que está há dez anos em cartaz nos Estados Unidos e conta a história da noiva Sophie (Amanda), que tenta descobrir a verdadeira identidade de seu pai. Ela decide convidar os antigos namorados da mãe para o seu casamento para tentar revelar qual deles é realmente seu pai.

Na terceira posição deste fim de semana está a animação Kung Fu Panda, que conta com dubladores famosos, como Jack Black (Escola de Rock), Angelina Jolie (O Procurado) e Dustin Huffman (Mais Estranho que a Ficção). As Crônicas de Nárnia - Príncipe Caspian ficou em quarto lugar.

O Reino Proibido, novo filme de Jet Li que conta a história de um adolescente americano que encontra o lendário bastão do rei-macaco Son Goku, do folclore chinês, ficou na quinta posição.

[pantalaimon]

muito boa a estreia, fora dos eua ja arrecadou 25 milhoes ne?vamos esperar...

[-felipe-]

 

Parece que o filme já é um grande sucesso mesmo. Estão cogitando a maior bilheteria musical dos últimos 30 anos!

 

 

Sairam alguns trechos do filme no Youtube:

The Winner Takes It All: http://br.youtube.com/watch?v=bCmOWYbmr4k&feature=related

Dancing Queen: http://br.youtube.com/watch?v=TJHnC6KAlqE

Take A Chance On Me: http://br.youtube.com/watch?v=m1d2Xci8qMM&feature=related

Honey Honey: http://br.youtube.com/watch?v=lysKRN-cdg0&feature=related

Slipping Through My Fingers: http://br.youtube.com/watch?v=mnelpiOAgI8&feature=related

Lay All Your Love on Me: http://br.youtube.com/watch?v=QIBG0NHKVs0&feature=related

Money, Money, Money: http://br.youtube.com/watch?v=YDjw4mpEwU8&feature=related

Our Last Summer: http://br.youtube.com/watch?v=lvU3sbJAbIY&feature=related

Am I Getting Any?: http://br.youtube.com/watch?v=igdqGCIfcfo&feature=related

Chiquitita: http://br.youtube.com/watch?v=IzAWuX_5_d0&feature=related

SOS: http://br.youtube.com/watch?v=I7jZ7AdFSKo&feature=related:

 

 

A estréia nacional foi adiada pra 12 de setembro.

 

-felipe-2008-07-28 23:37:21

[Barbie]

Tai, me animei em ver... Gosto da Meryl, em As Filhas de Marvin ela está muito boa, como sempre...

Conheço pouco de ABBA, mas gosto do estilo do filme... Vamos ver!!!

[CACO/CAMPOS]

Meryl Streep confessa que usou sensualidade para conseguir papel em filme
(10/08/2008 - 15h19)

Da Redação www.cineclick.com.br

 

Meryl Streep em O Diabo Veste Prada

Meryl Streep (O Diabo Veste Prada) declarou que sempre se sentirá envergonhada pela tática sensual que usou para conseguir o papel de protagonista no filme Entre Dois Amores, depois que o diretor Sydney Pollack (Conduta de Risco) revelou que não a achava sexy o suficiente.

A atriz de Mamma Mia! interpretou o papel de Karen Blixen no filme em 1985, mas teve que provar que era mais do que uma dama respeitada, segundo o WENN.

"Eu fui para o teste de elenco, pateticamente, com uma blusa bem decotada e um sutiã com enchimento", lembra a atriz.

[lucasafoliveira]

a principio nao me interessei pelo filme. o trailer nao é legal, mas fiquei viciado ouvindo as faixas de "mamma mia! original cast recording" 

 

[pantalaimon]

eu vo ver, acho q é legal, continua arrecadando muito!

[-felipe-]

Ranking dos cds mais vendidos nos EUA:

 

http://www.billboard.com/bbcom/charts/chart_display.jsp?g=Albums&f=The+Billboard+200

 

 

[garbo]

não sabia que o cd tambem estava vendendo tanto. Não é pra menos, eu comprei assim que vi na Saraiva, é muito bom, mas eu adoro abba então nem tinha como né?

tô doida pra ver o filme, já tinha até combinado com as minhas amigas de ver na estréia mas foi adiado. Vou esperar pq esse é o tipo de filme que merece ser visto na telona!!

 

 

[pantalaimon]

a meryl canta garbo?o cd sao versoes das musicas do abba ne?;D legal!

e aqui no brasil adiaram em quase um mes a estreia. ia estrear amanha, mas estreara so dia 12 de setembro junto com "ensaio sobre a cegueira"

 

¬¬.

[garbo]

canta sim, muito bem até. Todas as musicas são os proprios atores que cantam, a amanda e pierce brosnan e todas as musicas são do abba. Fizeram muito bem a seleção, são justamente as melhores que estão no filme.

 

[pantalaimon]

q bom, tem a "gimme gimme gimme" q adoro,to ansioso, vo baixar a trilha!;D

[CACO/CAMPOS]

Pierce Brosnan diz que quis trabalhar em 'Mamma Mia!' por Meryl Streep

O longa é uma adaptação ao cinema do famoso espetáculo teatral, com as canções do ABBA

 

 ator irlandês Pierce Brosnan, que canta e dança pela primeira vez na tela no musical "Mamma Mia! - O Filme", diz que aceitou o papel por "três palavras mágicas: Meryl Streep, ABBA e Grécia". E, dessas três palavras, "a mais mágica foi certamente Meryl", disse Brosnan ao jornal "Vecernje novosti", de Belgrado. 

 "Após saber que ela participava, parei de pensar" se aceitaria o papel ou não, acrescentou. "Em várias ocasiões me perguntei depois 'Por que fiz isso?', mas agora estou feliz por ter aceitado", declarou Brosnan.

"Mamma Mia! - O Filme", uma adaptação ao cinema do famoso espetáculo teatral, com as canções do ABBA interpretadas pelos protagonistas, foi rodado na Grécia e se transformou em uma das estréias que mais faturou em bilheteria nos Estados Unidos na temporada de verão (hemisfério norte).

 

[pantalaimon]

quem nao quer trabalhar com ela?;D