Dreamgirls
Whether it wants to admit it or not, Dreamgirls wants to be this year’s Chicago – a splashy, gorgeous adaptation of a beloved 1970-80’s Broadway hit. Screenwriter/director Bill Condon (whose screenplay for Chicago was nominated for an Oscar) has the chops to adapt it, but the Dreamgirls show itself lacks the dark fantasy of Chicago to balance out the intrinsic whimsy of a musical. This is not a flaw (and heaven knows I love me whimsy and darkness), but it’s comparing apples with Oscar-winning oranges.
With that expectation eliminated, let’s talk about Dreamgirls’ virtues, which are major:
1. It has a difficult, two-decade spanning songbook from the beginnings of the black/white rock/R&B fusion through the early, pan-ethnic but soul-free disco era.
2. It has a powerhouse cast of singers who happen also to be good actors, or is it actors who are great singers? Either way, bonanza.
3. A mélange of delectable hair and clothing fashions from the 20th Century’s most politically tumultuous period.
4. A good stage-to-screen adaptation which elevates what could have been just a musical revue into a real journey and echoes the real cultural icons of the time.
5. Kick ass orchestrations by either composer Henry Krieger or someone IMDB.com did not bother to credit.
6. Hey-wait-that-was-amazing camera shots byTobias A. Schliessler.
That list is enough to recommend the film right there. Eddie Murphy comes in swinging as Jimmy Early, a James Brown-esque star of the ilk that made Camelot-era white folks uncomfortable but who changed pop music forever. He’s frigging great. Jamie Foxx, definitely taking pains not to ride on his laurels after Ray, gives guts to his intensely amoral and charismatic charmer. Anika Noni Rose is all sweetness and light and then slams you with a slow burn and her own solo-worthy pipes. Beyonce Knowles is nearly unrecognizable (though breathlessly beautiful) in period eyebrows and the modest but sexy fashions of the era. She has left Foxxy Cleopatra behind and proved she can act and act mighty fine; perhaps she is unconsciously emulating Diana Ross back when she too surprised us all in Lady Sings The Blues.
Finally, the restless audience clapped for “and introducing Jennifer Hudson as Effie.” My word! She has a difficult character to play, a difficult song to own (redefining showstopper and breakdown in the process) and she absolutely rocks this movie to its core. For those like me who were unaware, she was an American Idol contestant who was voted off somewhat early and sparking much popular protest. Knowing that does give Effie’s journey some extra weight and charge, but even ignorant as I was, Hudson ruled. Take that, Idol, she might get an Oscar nomination thanks to your mistake. Beats doing a Ford commercial.
Despite the smooth script and gorgeous photography, including unusual and affecting shots and fabulous in-camera transitions, I found the editing to be terrible. I rarely notice such things, but the cuts were rhythmically jarring and weird throughout the movie. I found myself distracted often, and it wasn’t because there was nothing holding my attention.
That aside, Dreamgirls the film manages the simple message of Dreamgirls the play with aplomb – hearts before business, the team before the diva, dreams can come true of you pull together, don’t screw people over just for a buck, and a reminder of how much American music owes to African-American artists. Good, solid, and true. Nothing new, but everything infectious and terrific. Enjoy.
