Mamma Mia Here We Go Again End Scene
Does 'Mamma Mia! Here We Get Again' Take a Post-Credits Scene?
When all is said and washed, you might want to stay until the last credit rolls
Universal
Like many a big-screen sequel, "Mamma Mia! Here We Go Again" rewards fans willing to stick through the bitter, bitter end of the credits afterward the movie ends.
Yes, author-managing director Ol Parker's new movie musical — a sequel to 2008's striking "Mamma Mia!" — has a post-credits scene.
And while the brief vignette doesn't tease a third installment in the franchise, a mash-up of classic ABBA songs with a convoluted soap operatic plot, it does provide a fun bonus scene that calls dorsum to one of the new pic'due south biggest scene-stealers. (Spoiler alert: Finish reading now if yous don't desire to know the contents of the bonus scene.)
Also Read: 'Mamma Mia two' Trailer: Spotter Cher as Meryl Streep'south Mom (Video)
At several points in the movie, both in flashbacks to 1979 and the present day, we run across a quick-witted customs officer (played by Iranian-British standup comic Omid Djalili) who stamps passports on a pier before characters board a ferry to the Greek island where Meryl Streep's Donna — and later her daughter, Sophie (Amanda Seyfried) — make a home in an old farmhouse.
In the bonus scene, nosotros get-go see Hugh Skinner'south Harry, an aspiring banker-businessman (later played past Colin Firth) who met new higher graduate Donna (Lily James) in Paris and chased later her following a one-night romance.
"If she objects, accept her give me a call," Djalili's unnamed customs agent tells young Harry earlier breaking into a few lines of the chorus to ABBA's "Hazard in Me."
He then quickly breaks character and convulses into laughter, joined by some unseen crew members.
Likewise Read: ABBA to Reunite, Will Release First New Songs in 35 Years
Harry is of course i of 3 men Donna (played by Meryl Streep in the original film) encountered that fateful summer in 1979 who could take been Sophie's father — the others being Pierce Brosnan's Sam and Stellan Skarsgard'southward sailor Pecker.
Christine Baranski, Julie Walters and Dominic Cooper also return for the new film, whose predecessor was based on a stage musical that premiered in London'southward West Stop in 1999 and played on Broadway for more than a decade.
Jeremy Irvine plays the younger Sam and Josh Dylan plays the young Neb, joined by beau newcomers similar Andy Garcia and Cher (every bit Donna'due south long-estranged mother).
"Mamma Mia! Here We Go Once more" opens on Fri.
For the record: A previous version of this story incorrectly listed co-star Julie Walter's proper noun.
12 Movies and Musicals to Watch After 'La La State' (Photos)
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"How can you be a revolutionary when you're a traditionalist," asks John Legend in "La La Land." Damien Chazelle's film is enamored with archetype movie musicals, mashing up references and wearing its influences on its sleeve. Only it'southward too about how embracing the by can create innovation. Here are some of the inspirations Chazelle has cited for "La La Land."
Lionsgate -
20th Century Play tricks"The Umbrellas of Cherbourg" (1964)
"La La Land" is well-nigh closely an homage to this French musical from Jacques Demy. Catherine Deneuve stars equally a girl separated from her lover past war. Chazelle has professed his love for it numerous times, and you lot can see traces of it in his candy- colored set dressing and melancholy dirges.
- Warner Brothers/Seven Arts
"The Young Girls of Rochefort" (1967)
This Demy film also inspired Chazelle, who screened it for the entire team during production. The outdoor dance sequences and widescreen aspect ratio are modeled closely in "La La Land."
- MGM
"Singin' in the Pelting' (1952)
This is where information technology all begins. Simply about every musical today owes something to Gene Kelly and Stanley Donen'southward masterpiece. "La La Land" emulates its colors, its surreal dream sequence shot on sound stages, in the finale -- and in its cheeky satire. Like "La La State," "Singin' in the Rain" pays respect to a lost era.
- MGM
"An American in Paris" (1951)
Gene Kelly plays a clay-broke artist trying to detect work in Paris along with his ii friends, a cabaret singer and a would-be concert pianist. Their ambitions and joie de vivre in spite of hardships are similar to those of struggling millennials Mia and Sebastian.
- MGM
"The Band Wagon" (1953)
Fred Astaire dances with Cyd Charisse every bit he poses as a slick, individual centre in the "Girl Hunt Ballet" sequence of "The Band Wagon." The scene inside an-all pink saloon is one Chazelle refers to as a "dream ballet," one he thought of in trying to achieve "wild, creative take chances-taking combined with real, mass audience" entertainment.
- Sony Pictures Classics
"Whiplash" (2014)
Chazelle earned praise and Oscar nominations for this jazzy movie about extreme drive. The success of "Whiplash" helped get "La La Land" off the footing. You can come across similar visual flair in both films, peculiarly in the aggressive editing in places. And both films end with wordless, musical climaxes.
- RKO Radio Pictures
- Embassy Pictures
- MGM
"It'due south Always Fair Weather" (1955)
"La La Land" isn't all rainbow colors and pure joy. It'south also somber and mournful at times. This Gene Kelly and Cyd Charisse production tones down the screwball free energy of "Singin' in the Rain," telling the story of 3 soldiers who reconnect after ten years to find they no longer have much in common.
- Variance Films
"Guy and Madeline on a Park Bench" (2009)
Chazelle's commencement film, a black-and-white indie steeped in the jazz age, borrows equally much from Jean-Luc Godard as it does "The Umbrellas of Cherbourg." It has tap dancing and romance, and "La La Land" composer Justin Hurwitz composed the score and original songs.
- New Line Movie house
"Boogie Nights" (1997)
Paul Thomas Anderson's pornography opus may be an odd point of reference for Chazelle'south blissful musical romance, but Chazelle admired the movie's menstruum- piece nostalgia and used the film, along with noirs like "Dusk Boulevard" and "The Bad and the Cute," as a template for characterizing LA and California.
- Warner Bros.
"Rebel Without a Cause" (1955)
At one point, Ryan Gosling and Emma Rock's lookout James Dean in "Insubordinate Without a Cause" and trek upwardly to Griffith Observatory for a lovely, loftier-flight trip the light fantastic toe number within the planetarium. "Rebel Without a Cause" is one of the about famous films shot in CinemaScope, which Chazelle as well used.
Source: https://www.thewrap.com/mamma-mia-here-we-go-again-has-post-credits-scene-meryl-streep-cher-colin-firth/
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