Unexpected Guest in Mamma Mia Here We Go Again

Does 'Mamma Mia! Here We Go Again' Take a Post-Credits Scene?

When all is said and done, you might want to stay until the terminal credit rolls

Universal

Like many a large-screen sequel, "Mamma Mia! Here We Become Again" rewards fans willing to stick through the biting, bitter end of the credits after the movie ends.

Yes, writer-managing director Ol Parker's new movie musical — a sequel to 2008'south hitting "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 back to one of the new film's biggest scene-stealers. (Spoiler alert: Stop reading now if yous don't want to know the contents of the bonus scene.)

Also Read: 'Mamma Mia 2' Trailer: Watch Cher every bit Meryl Streep'due south Mom (Video)

At several points in the picture, both in flashbacks to 1979 and the present solar day, we run into a quick-witted customs officer (played by Iranian-British standup comic Omid Djalili) who stamps passports on a pier earlier characters lath a ferry to the Greek island where Meryl Streep'due south Donna — and subsequently her daughter, Sophie (Amanda Seyfried) — make a home in an old farmhouse.

In the bonus scene, we first encounter Hugh Skinner's Harry, an aspiring banker-businessman (afterward played past Colin Firth) who met new college graduate Donna (Lily James) in Paris and chased after her following a one-night romance.

"If she objects, have her requite me a telephone call," Djalili's unnamed customs agent tells young Harry before breaking into a few lines of the chorus to ABBA's "Take a Chance in Me."

He so speedily breaks character and convulses into laughter, joined by some unseen coiffure members.

Likewise Read: ABBA to Reunite, Will Release First New Songs in 35 Years

Harry is of course 1 of three men Donna (played by Meryl Streep in the original film) encountered that fateful summertime in 1979 who could accept been Sophie's father — the others beingness Pierce Brosnan's Sam and Stellan Skarsgard's crewman Bill.

Christine Baranski, Julie Walters and Dominic Cooper besides return for the new film, whose predecessor was based on a phase musical that premiered in London's West End in 1999 and played on Broadway for more than than a decade.

Jeremy Irvine plays the younger Sam and Josh Dylan plays the young Bill, joined past fellow newcomers like Andy Garcia and Cher (as Donna's long-estranged mother).

"Mamma Mia! Here Nosotros Go Again" opens on Friday.

For the record: A previous version of this story incorrectly listed co-star Julie Walter'due south name.

12 Movies and Musicals to Watch After 'La La Land' (Photos)

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  "How tin can y'all be a revolutionary when you're a traditionalist," asks John Legend in "La La Land." Damien Chazelle's picture show is enamored with archetype movie musicals, mashing up references and wearing its influences on its sleeve. Just it's too most how embracing the by can create innovation. Here are some of the inspirations Chazelle has cited for "La La State."

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  "The Umbrellas of Cherbourg" (1964)

  "La La Land" is most closely an homage to this French musical from Jacques Demy. Catherine Deneuve stars every bit a girl separated from her lover by state of war. Chazelle has professed his love for it numerous times, and yous can see traces of it in his candy- colored gear up dressing and melancholy dirges.

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  "The Young Girls of Rochefort" (1967)

  This Demy film also inspired Chazelle, who screened it for the entire team during production. The outdoor trip the light fantastic toe sequences and widescreen aspect ratio are modeled closely in "La La Land."

  Warner Brothers/Seven Arts
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  "Singin' in the Rain' (1952)

  This is where it all begins. Only most every musical today owes something to Cistron Kelly and Stanley Donen's masterpiece. "La La Country" emulates its colors, its surreal dream sequence shot on audio stages, in the finale -- and in its derisive satire. Like "La La State," "Singin' in the Rain" pays respect to a lost era.

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  "An American in Paris" (1951)

  Gene Kelly plays a dirt-broke artist trying to detect work in Paris forth with his 2 friends, a cabaret vocalist and a would-be concert pianist. Their ambitions and joie de vivre in spite of hardships are like to those of struggling millennials Mia and Sebastian.

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  "The Band Railroad vehicle" (1953)

  Fred Astaire dances with Cyd Charisse every bit he poses as a slick, private eye in the "Girl Hunt Ballet" sequence of "The Band Wagon." The scene inside an-all pink saloon is i Chazelle refers to every bit a "dream ballet," ane he thought of in trying to achieve "wild, creative risk-taking combined with real, mass audience" entertainment.

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  "Whiplash" (2014)

  Chazelle earned praise and Oscar nominations for this jazzy film about farthermost drive. The success of "Whiplash" helped get "La La Land" off the footing. You tin see like visual flair in both films, particularly in the aggressive editing in places. And both films end with wordless, musical climaxes.

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• RKO Radio Pictures
• Embassy Pictures
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  "It's Always Fair Weather" (1955)

  "La La Land" isn't all rainbow colors and pure joy. It'southward likewise somber and mournful at times. This Cistron Kelly and Cyd Charisse production tones down the screwball energy of "Singin' in the Rain," telling the story of iii soldiers who reconnect after x years to find they no longer have much in common.

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  "Guy and Madeline on a Park Bench" (2009)

  Chazelle'southward first film, a black-and-white indie steeped in the jazz age, borrows as much from Jean-Luc Godard as it does "The Umbrellas of Cherbourg." It has tap dancing and romance, and "La La State" composer Justin Hurwitz equanimous the score and original songs.

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  "Boogie Nights" (1997)

  Paul Thomas Anderson'due south pornography opus may be an odd bespeak of reference for Chazelle'due south blissful musical romance, but Chazelle admired the movie'south menses- slice nostalgia and used the motion-picture show, forth with noirs similar "Dusk Boulevard" and "The Bad and the Beautiful," as a template for characterizing LA and California.

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  "Rebel Without a Cause" (1955)

  At one point, Ryan Gosling and Emma Stone'southward watch James Dean in "Rebel Without a Cause" and trek up to Griffith Observatory for a lovely, high-flying dance number inside the planetarium. "Insubordinate Without a Cause" is ane of the near famous films shot in CinemaScope, which Chazelle also used.

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"The Umbrellas of Cherbourg" and "Singin' in the Rain" are amidst Damien Chazelle's inspirations

"How can you be a revolutionary when y'all're a traditionalist," asks John Fable in "La La State." Damien Chazelle's motion-picture show is enamored with archetype movie musicals, mashing upwardly references and wearing its influences on its sleeve. Simply it's also about how embracing the past tin create innovation. Here are some of the inspirations Chazelle has cited for "La La Land."

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Source: https://www.thewrap.com/mamma-mia-here-we-go-again-has-post-credits-scene-meryl-streep-cher-colin-firth/

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