Article written by Samuel Burnett.
Yes, I already know what you’re thinking, Sam, you handsome hunk of a writer, why would you write another article about Mamma Mia? You already wrote one last week.
Well, honestly, I just really liked the sequel and, more importantly, there is something else from that jukebox musical that is worth further discussion.
The Mamma Mia films are widely lauded as powerful, female-driven musicals and rightfully so. Who can forget the iconic “Dancing Queen” number from the first film?
However, the franchise is also a standout in how it represents male bonding.
Men typically are not expected to be emotional around each other or anyone, really. The sole exceptions are typically when either the female love interest or elderly grizzled mentor/father figure is killed by the villain and often, even then, the emotional limits will consist of a mild grimace and a single, stoic tear.
You would never expect to see a man get emotional because he is reunited with close friends that he hasn’t seen in a while during a difficult time in his life. And being physically affectionate with each other? Don’t make me laugh.
I remember when I was younger, and I had been forced to watch Bill and Ted’s Excellent Adventure by my parents. I had no interest in seeing it and, as I watched, I retained little of what I saw. For me, it wasn’t a particularly memorable film (although I do like the sequel). However, one small scene stood out for me.
After cheating death, the titular characters embrace, happy that the other is alive, before swiftly breaking apart and calling out “fag.”
This was, of course, played for laughs.
But what stuck with me was that, even after a particularly tense event where the two nearly died, they were still prohibited from acknowledging that they cared for each other.
It really rubbed me the wrong way then and it still does now and, no, I couldn’t care less if you feel like saying “that was a different time.”
Thankfully, Mamma Mia: Here We Go Again seems to feel the same way, as there is never even a single second of that kind of fragile masculinity.
The men in the film are clearly comfortable with one another, with one memorable moment featuring the characters Harry Bright and Bill Anderson, played by Colin Firth and Stellan Skarsgård respectively, playfully recreating the famous “I’m flying” scene from James Cameron’s Titanic during the “Dancing Queen” musical sequence.
Naturally, their version looked significantly better than the original.
Why were they doing that? Honestly, it just looked like they found it too hilarious an opportunity to pass up, just like literally everyone standing near the front of a boat.
This wasn’t played for laughs, there was no sly winks to the audience, “Do ya see that? Look at those two men! They’re not being normal! Men don’t act like that!”
It was simply two guys that weren’t embarrassed about how close they were with one another.
It was also a spectacular music number.
Immediately following, this is an even more emotionally powerful scene.
Pierce Brosnan’s character Sam Carmichael has spent much of his screen time mourning the death of his wife, Donna (played by the irreplaceable Meryl Streep). It would not be inaccurate to say that he is suffering from depression due to his loss.
His stepdaughter, Sophie, is planning a grand re-opening of Donna’s hotel to commemorate her late mother but, sadly, it seems that both Bill and Harry will be unable to attend due to work commitments.
However, due to the pair both experiencing a change of heart, Harry and Bill arrive at the hotel at the head of a fleet of fishing boats (during the aforementioned Titanic moment).
Sam’s face takes on a whole new light when he sees his friends, and suddenly he looks at least ten years younger. He rushes up to the pair and pulls them into a tight embrace, voice heavy with emotion, he whispers, “Thank you, thank you.”
As I watched that, I could not help but think back on that Bill and Ted’s scene as well as every other scene in fiction that indicated that men ought to be deeply ashamed for the crimes of needing support from each other and displaying emotion.
I remembered Joey and Chandler feeling uncomfortable because they hugged each other.
I remembered Martin Crane scolding his sons, Frasier and Niles, for wanting to discuss their feelings, dismissing it as nothing more than weak whining.
I remembered the many jokes people made about Frodo and Sam, insinuating that they were somehow lesser as the result of their deep friendship.
I truly hope that this heralds a shift in the way that men are allowed to interact with one another on-screen. Toxic masculinity is not just about how men view women, it is also about how men view other men.
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