‘Delightfully absurd’: why Mamma Mia! is my feelgood movie

Three years ago, I was sitting on the mezzanine of an east London bar when it collapsed. On my way back from the hospital, I called my friend to come over and he asked: “What do you need?” I said I needed a glass of rosé and to watch Mamma Mia!

Since Phyllida Lloyd’s camp jukebox musical came out in 2008, I’ve seen it upwards of 20 times (including three trips to the cinema). Why? Well, let’s start with the basics. The cast: Meryl Streep, Julie Walters, Christine Baranski, Stellan Skarsgård, Colin Firth. The delightfully absurd plot: young woman raised by a single mother about to be married on a Greek island wants to find out who her father is. The music: 20 of Abba’s classic hits. What more could you ask for, really?

Related: ‘A thing of pure beauty’: why Pink Flamingos is my feelgood movie

Mamma Mia! isn’t a movie – it’s a holiday. It’s a film so divorced from subtext and intricacy that its only ask for viewers is to bask in the Greek sunshine as the sounds of Abba wash over them. This is perhaps why the film was panned by many male critics at the time. Peter Bradshaw called it a “soulless panto” with an “irrelevant story … [where] there is no irony, no heartache, certainly no paralysing illness, no dramatic plausibility”. I understand where Bradshaw’s coming from, but I think he missed the point of the film. It was never meant to be taken seriously; it’s a film without pretense. Much of what he complains about is precisely what makes Mamma Mia! the perfect cinematic comfort blanket.

Is Mamma Mia! pitch perfect? Absolutely not. The male actors almost revel in their vocal ineptitude throughout the film. Pierce Brosnan’s off-key performance on SOS would be a crime against musical theatre if it wasn’t so unintentionally charming and hilarious. It’s also a shame that the gay man (Harry, played by Firth) is the only one left without a substantial romantic interest at the end of the film. Thankfully, the women are there to pick up the men’s slack (as they so often do). Baranski and Walters as Tanya and Rosie are comedic gold, taking jabs at each as only old friends can; Tanya reminds Rosie that they are the same age, and Rosie says: “Yeah. Well, parts of us are.” The relationship between mother (Streep) and daughter (Amanda Seyfried) is beautifully drawn which makes their intimate rendition of Slipping Through My Fingers the emotional gut-punch of the film.

What elevates the film is the unbridled joy that radiates from every cast member who is clearly having the time of their lives (pun intended). Streep told Vogue in 2023 that “[Mamma Mia!] was a deliriously happy shoot”, and it shows in every frame of the film. The genuine, palpable chemistry between the castmembers means there is a collective abandon that’s rare to see on screen. Streep, Walters and Baranski light up every scene they are in together, clearly relishing the all too rare opportunity to play feisty, independent, sexually assertive middle-aged women. You can see the glee and playful satisfaction in Baranski’s face as she high-kicks and frolics her way through a series of young men in bathing suits while she lets rip on Does Your Mother Know. If you haven’t seen the photos from the film’s wrap party, do yourself a favour and look them up. (Sadly, Baranski debunked rumours the cast were drinking ouzo between takes.)

To me, what defines a feelgood film is that it can lift you up in times of crisis. Mamma Mia! has pulled me through break-ups and breakdowns. I watched it after I was in a building collapse! When I get to the raucous bachelorette party scene that features Super Trouper, Gimme! Gimme! Gimme! (A Man After Midnight) and Voulez-Vous (three absolute bangers), I’m too busy singing and dancing to remember my own problems – all I want is a glass of ouzo.

As I have gotten older, I’ve found myself returning to Mamma Mia! more and more. The global rise of far-right governments, coupled with almost daily reminders that the planet is hurtling towards ecological collapse, can feel suffocating. For 108 minutes, the film offers respite and sanctuary in the form of Streep singing Dancing Queen in overalls. This could partly explain why, in the middle of the 2007-08 financial crisis, Mamma Mia! struck such a chord with audiences and became a runaway box-office success, grossing $610m worldwide. Not to mention a 2018 sequel and possible third film in the works.

Mamma Mia!’s devotion to escapism is as refreshing as it is necessary. When the last song is finished and the credits roll: the world again seems tolerable. So thank you for the music, Mamma Mia!

• Mamma Mia! is available on Max in the US and on Now in the UK