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Directed by : Bill
Condon
Writing credits : Bill Condon
(screenplay) , Tom Eyen (book)
Tagline : Fame Comes And Goes,
Stars Rise And Fall, But Dreams Live
Forever
Cast : Jamie Foxx as Curtis
Taylor Jr. , Beyoncé Knowles as Deena
Jones , Eddie Murphy as James 'Thunder'
Early , Danny Glover as Marty Madison ,
Anika Noni Rose as Lorrell Robinson
Runtime : 131 min
 Review
: Dreamgirls is a wonderful
entertainment: a musical that, while not
skimping on the music, delivers a
multi-layered storyline featuring
complex characters. The average
Hollywood musical focuses on spectacle
and, while there's some of that to be
found in Dreamgirls, the movie has
loftier goals, many of which it
successfully achieves. If there's one
weakness in the film, it's the music.
While effective within the context of
the picture, the songs have a generic
quality. Even the standouts are not
memorable. Leaving the theater, I was
not seized with the desire to stop at a
music store and purchase the soundtrack.
However, this is a minor quibble, and it
does little to impact the viewer's
enjoyment of what is sure to be a huge
crowd-pleaser.
Dreamgirls does for the African-American
music industry what Boogie Nights did
for the porn business. Despite radically
different subject matter, both movies
show the grim reality of the commerce
through the eyes of a few involved
characters. The films begin light and
frothy, with a future of seemingly
limitless possibilities for the
protagonists, but the arc is one of a
gradual descent into an abyss.
Dreamgirls is not as dark as Boogie
Nights, but it would be a mistake to
assume that, just because it's a
musical, it's percolating with feel-good
moments. Nearly every character takes at
least one metaphorical slap to the face.
Dreamgirls is a high energy production
and it is ultimately uplifting, but it
doesn't shy away from dark moments.
 The
Detroit-based film spans the era
beginning in the early 1960s and
concluding in the mid 1970s. At the
beginning, we are introduced to an
all-girl trio named "The Dreamettes."
They are comprised of throaty Effie
(Jennifer Hudson), pretty Deena (Beyonce
Knowles), and meek Lorrell (Anika Noni
Rose). The songwriter for the group is
Effie's brother, C.C. (Keith Robinson).
They lack a manager but not drive. One
night, after entering a talent contest,
they catch the attention of would-be
player Curtis Taylor Jr. (Jamie Foxx),
who has been put in charge of finding
emergency back-up singers for soul
legend James "Thunder" Early (Eddie
Murphy). Effie is initially reluctant -
she sings only lead, not backup - but
the money and potential opportunities
win her over. Eventually, once Curtis
has developed some clout, he spins off
"The Dreamettes" on their own. For
marketing purposes, he pegs Deena as the
lead singer, even though Effie has the
best voice. Although Effie accepts the
slight at first, as the group's
popularity skyrockets and they begin to
have crossover pop success, Effie's
bitterness comes into the open and the
"The Dreams," as they are now known,
face their first major crisis. It will
not be their last.
 Dreamgirls
is all about what sells, and how
marketing trumps talent. This is nothing
new in the music business. It has been
happening for decades and, if anything,
is more prevalent today than ever in the
past. (How else could one explain the
sales of a pretty-but-talentless singer
who shall remain nameless?) Curtis
begins with a small dream to match small
ambition. It's a dream he shares with
the girls. However, as doors begin to
open and he starts to see where dollars
can be harvested, he becomes a cold,
calculating businessman. He destroys
Effie's career because she is
"disruptive." He marries Deena because
it's good for their joint images. He
courts white audiences because only by
getting airplay on mainstream radio
stations will the group become
mega-stars. Effie is the best singer,
but Deena is pretty and doesn't make
waves. When product and packaging are
paramount, little else matters. Effie
isn't only removed, she is forgotten.
Dreamgirls is one of those movies that
makes you feel like you're experiencing
something, not just watching it. Credit
should be given to adapter/director Bill
Condon, who balances music with
character development and doesn't miss a
beat. Despite the almost non-stop
production numbers, we still identify
with the men and women populating this
film. We feel for them, cheering for
their ups and weeping for their downs. A
few years ago, Chicago won a Best
Picture on the strength of its
spectacle. The music in Dreamgirls isn't
as memorable, but the performances and
character development are stronger.
 The
acting is one of Dreamgirls'
unassailable assets. One expects a
top-notch performance from Jamie Foxx,
who has proven himself to be among
Hollywood's elite actors, and he
delivers it. Foxx provides an
unflinching portrayal of how power and
greed can corrupt even the best of men.
Eddie Murphy, in a smaller role, has an
opportunity for a flamboyant turn as the
James Brown inspired soul singer. (Did
anyone else flash back to Murphy's Brown
mimickry from Saturday Night Live?)
However, by providing moments of quiet
pathos, the larger than life character
remains anchored. Beyonce is the weak
link as the Diana Ross-inspired Deena.
She has the voice and the looks but
exhibits surprisingly little screen
presence. Perhaps the biggest surprise
is ex-American Idol contestant Jennifer
Hudson as the pivotal Effie. Not only
does Hudson have the pipes, but she
gives a standout performance filled with
equal amounts of sass, brass, and
sadness. Although she resides within the
long shadow cast by Broadway's Jennifer
Holliday, Hudson is good enough to
warrant mention in the same breath. It's
hard to imagine the Academy ignoring
her, although they may have trouble
deciding whether she belongs in the Lead
or Supporting character. She's really
the heart and soul of Dreamgirls.
Director Bill Condon (Gods and Monsters)
has worked diligently to "open up" the
play without damaging its integrity.
Little scenes often have significant
impact, such as a brief shot of Effie
and Curtis outside the recording studio
during the July 1967 12th Street Riot.
However, while Condon's direction of the
non-musical aspects of Dreamgirls are
forceful, his approach to the numbers
lacks the flair that Rob Marshall
brought to Chicago. "And I'm Telling You
I'm Not Going" (Effie's breakout song)
remains the production's standout
number. However, although it's presented
with near-goosebump intensity, it lacks
the "bringing down the house" power of
its live counterpart. Other songs have
faced a similar, if only slight,
diminution in their transition from
stage to screen.
These days, musicals are hit-and-miss
affairs, but the marketing department is
working overdrive on Dreamgirls, so it
seemed destined for a Chicago-like
reception, rather than something similar
to what greeted last year's dismal duo
of Rent and The Producers. Dreamgirls
has all the aspects necessary to rouse
audiences. It's the kind of movie people
will tell other people to see, and word
of mouth remains the most powerful
advertising device. Dreamgirls is good
and at times it touches greatness, and
that's more than enough to make a lavish
extravaganza like this a much-praised
choice of critics and non-critics alike.
As long as Hollywood can mount
productions like this, the musical -
which has been in intensive care for a
long time - will never die.
MEDIA PARTNER
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