Movie Review: Dreamgirls
Paramount bought the rights to produce a film version of the hit Broadway musical Dreamgirls back in the 80s, but it's taken this long for the project to actually come to fruition. Maybe they were waiting for the right director, maybe they were waiting for the right talent or time, or maybe it was just difficult to convince someone a movie about three black girls pursuing their dreams would sell to the mainstream public. But even if it is many years later, fans of the original show are no less delighted that the legendary production has finally made its way to the big screen.
The movie doesn't actually come out until Christmas day nationwide, but I was lucky enough to catch one of the $25 roadshow screenings in New York city, complete with costume pieces, a program and mini-poster, the works. Being in a room full of people who obviously really wanted to see the movie enhanced the moviegoing experience, especially for a film like this which is built to be an audience pleaser. People clapped, danced, sang along if they knew the words, and cheered on the stars of the movie, who obviously were not there to hear the lavish applause.
It's often difficult going in to view a film that's been so ridiculously hyped, because it's unlikely that the movie will ever meet your expectations, and this case was no exception to the rule. The story revolves around three young black girls in Detroit with aspirations of being a famous singing girl group a la The Supremes. Many people on the record have claimed the film is not based on The Supremes, but it's been made obvious time and time again that it clearly is. Though one of the members of the group recently appeared on Access Hollywood stating the movie does not accurately portray Diana Ross–the real person was much worse. Ouch.
Nonetheless, the film is essentially centered around Effie White, who is clearly the most talented of the three girls as made clear by one of the early numbers where newcomer Jennifer Hudson (think third season of American Idol) sings her face off while the other girls stand behind her singing Oohs and Ahhs. Singing "Oohs and Ahhs" is something Effie later claims she doesn't do once approached by sly as a snake manager Curtis Taylor (Jamie Foxx), who offers them a chance to sing back-up for a male singer. The girls eventually convince Effie to do it, as it could lead to them hitting it big, and she reluctantly obliges once Curtis butters her up a bit.
The girls eventually end up recording a minor hit, but right before it gets big, a white artist covers their song, and it rockets up the pop charts–making it impossible for the Dreamettes' version to continue climbing. Curtis and Effie develop a relationship along the way, whilst Lorelle, played by Tony winner Anika Noni Rose falls for Eddie Murphy's character James "Thunder" Early–a James Brown-like R&B singer that refuses to water down his soulful and funky music to appeal to white audiences.
The pivotal moment in the film comes half way through, when after Effie has been bumped down from the lead singer and replaced by the prettier but less talented Deena (Beyonce Knowles), she then gets completely knocked out of the group–and also realizes Curtis is sleeping with Deena. This is when Jennifer belts out the most mind-blowing musical number I've seen on the screen since Barbra Stresand's heartbreaking "My Man" in Funny Girl. "I'm Telling You I'm Not Going" is surreal.
All the musical numbers in this movie are great, but this one will have your spine tingling, your bones chilling, your hairs raised, and all the wigs flying. Aside from just the incredible vocal performance Hudson gives on the song, the emotional, powerful, and gutwrenching performance she gives on the screen is indescribable. In a theater packed full of hundreds of eager New Yorkers who all paid $25 a ticket, there were people throwing their hands up, clapping and cheering mid-song, and even jumping out of their seats to give Hudson a standing ovation at the end of the number. Throughout the entire movie, Hudson gives a surprisingly riveting performance. She nails Effie in every sense of the word–without even looking like a beginner. Her attitude oozes off the screen and right into your lap, and you love her for it. She might as well clear space on her shelf for her Oscar now.
Hudson and Murphy are clearly the standouts in this film, and should garner many awards and accollades for giving magnetic and scene-stealing performances in a film bigger than both of them. Unfortunately, the same raves cannot be given to the other actors, or the film as a whole. The good screenwriters in Hollywood must be on a strike, because along with The Pursuit of Happyness and Bobby, the biggest flaw in Dreamgirls is the script–and thus the actors are what make the movie. None of the characters are developed well enough, and the only character to have even close the appropriate amount of characterization is Lorelle, which is probably more a testament to the actress' ample abilities than to Bill Condon (Chicago) who wrote and directed the film.
Even the character who is bound to be the audience favorite, Effie White, lacks emotional depth and dimensions. We kind of understand Effie's actions based on the surrounding circumstances, but we don't get to see anything more of her than what is there at face value (the same can be said for all the characters)–and if we had, it would've made "I'm Telling You I'm Not Going" that much more poignant.
Eddie Murphy is a complete riot all throughout the film, sans the grim third act which is all but funny. This is honestly the performance of his career. Through his energetic moves, hip thrusts and turns, excellent singing and red-blooded charisma, Murphy is captivating every moment he's on screen. He and Hudson are really rich icing on a cake that's missing many of its key ingredients.
Ironically, the movie's two biggest stars, Jamie Foxx and Beyonce Knowles, are the weak links in the film. Foxx's one-note performance is reminiscent of a made-for-tv movie, and his singing is near embarassing–which is interesting because he is a singer. When Eddie Murphy is outsinging you, the professional musician, you know there's a problem. Given that this is Hudson's first film, it makes no sense that she would give a more committed, nuanced performance than Miss Knowles, who we've seen grace the screen before, and unsuccessfully.
Knowles, like many bad actors, think it's enough to just show up and say your lines. Though her character Deena is supposed to be quite dull, that doesn't excuse being stiff and lost. You look at her face while she's saying her lines and while the other actors are speaking and it's like looking into the eyes of a porcelain doll. It's really pretty, but there's nothing there. Even the one moment in the film when Deena steps up and takes charge–Beyonce cheesily takes a puff of her cigarette and spouts out something that would've been sassy, had she worked a little harder at challenging herself as an actress.
Despite being as mediocre as expected for most of the movie, there is one number newly created for the film called "Listen" in Act II that Beyonce hits out of the park. She completely caught me off guard, and nearly had me shaking with the intensity of her performance. The vocals aside, she truly felt and portrayed the emotion on the track, and for the first time in the entire film got cheers from the audience for nailing the number. If only she had been in the moment like this for the rest of the movie.
The costumes, make-up, lighting, and cinematography are all gorgeous, and some great performers make this film worth going to see the film. The surprisingly sloppy script and directing from mega-talented Condon keep it from being a one-two knockout.
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