Screenwriter: Bill Condon; Book (a.k.a. Soundtrack, not novel): Tom Eyen
To be honest, I’ve never really been a huge fan of musicals (on stage or screen). Which I find extremely puzzling because I love to dance and can't live without music. But, to be fair, I think writing and directing a musical is one of the toughest challenges in movie making. Why? Because we humans don’t normally sing to each other during the course of conversation. In my opinion, very few talented individuals have pulled off a successful musical.
If asked to pick my Top 3, I’d probably choose the biggies: (1) The Sound of Music, an overall classic in every way for its singing performances, lyrics, memorable melodies, acting, scenery, storyline; (2) Grease, for its fun, catchy tunes; (3) Chicago, for its fantastic choreography and art direction. So where would I rank Dreamgirls? That’s a tough one….
Dreamgirls is based on a Broadway play that was loosely based on how Diana Ross and The Supremes rose to fame. It reveals the usual artist struggles and underhanded business side of the music industry, and shows the toll these experiences can take on the artists who just want to make a comfortable living by doing what they do best. Although Dreamgirls was entertaining, I'm surprised that it's been nominated for five Golden Globes, in particular, nominations for Beyoncé Knowles as Best Actress - Comedy or Musical and Best Original Song, and the film itself for Best Picture - Comedy or Musical (without a doubt, that slot should've been filled by Stranger Than Fiction). That being said, Dreamgirls has moments where it really shines.
First of all, the singing is phenomenal! The voices of Beyoncé Knowles as Deena Jones (a fictional Diana Ross), Jennifer Hudson as Effie White (a fictional Florence Ballard), and Anika Noni Rose as Lorrell Robinson (a fictional Mary Wilson) blended together like a fine wine. The harmonies were angelic. However, the lyrics for the songs during non-stage-performance singing (sung by various cast members) were written more like actual dialogue instead of song lyrics. Unfortunately, I found myself trying to rewrite the lyrics instead of paying attention to those scenes. (A good example of where this works well is “Something Good” from The Sound of Music.)
Secondly, it’s nice to have Eddie Murphy back. Even though his role was of a more dramatic than comedic nature, he gave a top-notch performance that was both entertaining and poignant.
Finally, as to Jennifer Hudson’s much-heralded performance, I have two words for you: Aretha Franklin. That's no exaggeration, my friends. This former American Idol contender could easily be the next diva of her generation. Her performance of “And I Am Telling You I'm Not Going” was powerful, moving and prompted some audience members to clap at the end (and still brings tears to my eyes – in a good way). However, director Bill Condon made some strange choices during this scene, leaving her out there in no-woman’s-land, which felt awkward instead of inspired.
What I liked: No question – the singing is the best part of this film. Jennifer Hudson. Eddie Murphy. The costumes.
What I didn’t: Knowles had the look and sound of a diva (read: Diana Ross), but failed to capture the essence of one. Some of the songs could’ve used a little help from the musical masters. Condon’s directing choices. Jamie Foxx gave a lacklustre performance as Curtis Taylor, Jr., The Dreamettes' manager. And for those reasons…
Madeleine says: Matinee (or full price minus a discount coupon)
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