HelloAngel
ONE love, blood, life
By Jennifer B. Kaufman
2007.1
Let’s face it—movie musicals are not easy to pull off. Most of us do not break into song and dance during our typical day (well, usually). It is often difficult for movies to transition from spoken dialogue to musical numbers. This could be one of the reasons why it has taken so long for the Tony Award-winning Broadway musical “Dreamgirls” to make it to the silver screen. Fortunately for us, many people, including writer/director Bill Condon, (“Kinsey”) were willing to take on this daunting task.
“Dreamgirls” follows a Supremes-like singing group from their humble beginnings to the apex of fame. Effie White (Jennifer Hudson), Deena Jones (Beyoncé Knowles), and Lorrell Robinson (Anika Noni Rose) make up the Dreamettes, a naive but ambitious singing group. They get their big break as back up singers for the soulful singing sensation, James ‘Thunder’ Early, after being discovered by Curtis Taylor, Jr., a car salesman turned music manager and founder of his own label, Rainbow Records.
Life on the road is not easy for the James and the Dreamettes. They have to deal with white audiences who are uncomfortable with African-American performers, and being overlooked by mainstream radio. Early’s rousing and rambunctious R & B song “Cadillac Car” is covered by white singers, wrapping it in the musical equivalent of sanitized bubble wrap, and stripping the original of its soul, spirit and vibrancy. Taylor soon turns to payola to get James and the Dreamettes on the Billboard charts. On the personal side, Effie falls in love with Curtis, and Lorrell begins an affair with the very married James. Along for the ride is CC, Effie’s brother, who becomes Rainbow Records main song writer.
Failing to make James into a more pop-friendly act, Curtis turns his attention to the Dreamettes. However, there is a catch. Curtis wants the more slender Deena to take over as lead singer. Curtis believes Effie’s larger figure and more gospel-infused voice wouldn’t attract white audiences. Curtis re-names the Dreamettes to the Dreams (and turns his affections to Deena). He carefully crafts their look to be more glamorous and has them sing more pop-oriented songs. Soon the Dreams are at the top of the charts and are hugely popular among music fans of all races. However, not surprisingly, Effie is not happy to be pushed into the background, and becomes more and more petulant. Soon she is replaced by Curtis’ secretary Michelle (Sharon Leal).
By the 1970s, the Dreams are re-named Deena Jones and the Dreams, and Curtis and Deena are married. Rainbow Records has moved to Hollywood, and Curtis has discovered new pop/soul acts. Curtis wants to expand Rainbow Records into the movie business, hoping to have Deena star in a movie about Cleopatra. However, Deena is not thrilled with the idea and has different movie roles in mind.
Early also struggles with Curtis over his image and the music he wants to sing. Early, a hybrid of the late James Brown and Marvin Gaye, wants to sing a socially-conscious song, but Curtis nixes the idea claiming that music is meant to sell, not to send a message. Frustrated by Curtis’ control, James turns to drugs and his relationship with Lorrell falls apart.
Meanwhile, Effie does not fare well. She’s broke and trying to raise her daughter, Magic, alone. She’s also trying to get her music career back on track even though she has a reputation of being a difficult diva. She makes amends with people from her past and starts performing in local blues clubs.
Curtis, in his quest to stay current, has Deena Jones and the Dreams make the transition from soul to disco. Effie, now reunited with her brother CC, is struggling to make a comeback. Effie records a single, “One Night Only,” but Curtis gets his hands on it and has Deena and the Dreams record a more danceable version. It’s not long before Deena finds out about Curtis’ scheme, and things are in place for Deena to assert herself, Effie to have her original song heard, and the all of the Dreams sing together as a cohesive group.
“Dreamgirls” boasts a cast of superstars, but this is truly Jennifer Hudson’s movie. She simply embodies the proud and difficult Effie White. Ms. Hudson doesn’t act Effie; she is Effie, at times both vulnerable and infuriating. You want to hug her and shake some sense into her. I’d be hard-pressed to think of a newcomer to film making who has made such a riveting first impression.
The showcase song of “Dreamgirls” is the roof-raising “And I Am Telling You” sung by Effie, with both rage and heartbreak. Ms. Hudson puts her very heart and soul into the song. I got goosebumps, the hair stood up on the back of my neck, I shed a few tears, and the whole theater broke into both cheers and applause.
Eddie Murphy also shines. James Early is inspiring with his pure joy of performing and heartbreaking as he struggles to be the artist he wants to be. Many of his musical performances sizzle with energy and enthusiasm. Beyoncé’s Deena has an air-brushed and sleek vacuity, which portrays her as an empty vessel waiting to be filled by Curtis’ vision. And Jamie Foxx’s Machiavellian Curtis Taylor proves his Oscar for “Ray” was no fluke.
In “Dreamgirls,” many performances stay in your mind long after the closing credits have rolled. Among the musical standouts are the heartfelt “Family” sung by a majority of the principle characters, and “Fake Your Way to the Top,” a show-stopping, get up and dance number sung by James and the Dreamettes. “Listen,” a song not in the original Broadway production, is sung by Beyoncé and is both touching and empowering. “Listen” should be remembered come Oscar time.
The behind scenes teams of costume design, art direction and film editing also deserve recognition. In the beginning, the Dreams are adjusting their cheap wigs and wearing off the rack dresses. At the height of their fame, the Dreams are clothed in glamorous Bob Mackie inspired gowns. The album covers of the music stars are also spot on with their 1960s and 1970s lettering, photography, and graphics. And the editing keeps the movie running smoothly.
“Dreamgirls” does not sugarcoat what the performers faced in their careers and personal lives. The film portrays both the racial unrest and racism of the time, as well as drug use, poverty, the sleazy shenanigans of the music business, and women being controlled by men.
Ultimately, “Dreamgirls” is a spectacular cinematic experience that has proven delightful and inspiring to audiences. Several years ago, the critical and commercial hit, “Chicago” brought the musical back to the silver screen. “Dreamgirls” makes you hope that musicals are back for good.
2007.1
Let’s face it—movie musicals are not easy to pull off. Most of us do not break into song and dance during our typical day (well, usually). It is often difficult for movies to transition from spoken dialogue to musical numbers. This could be one of the reasons why it has taken so long for the Tony Award-winning Broadway musical “Dreamgirls” to make it to the silver screen. Fortunately for us, many people, including writer/director Bill Condon, (“Kinsey”) were willing to take on this daunting task.
“Dreamgirls” follows a Supremes-like singing group from their humble beginnings to the apex of fame. Effie White (Jennifer Hudson), Deena Jones (Beyoncé Knowles), and Lorrell Robinson (Anika Noni Rose) make up the Dreamettes, a naive but ambitious singing group. They get their big break as back up singers for the soulful singing sensation, James ‘Thunder’ Early, after being discovered by Curtis Taylor, Jr., a car salesman turned music manager and founder of his own label, Rainbow Records.
Life on the road is not easy for the James and the Dreamettes. They have to deal with white audiences who are uncomfortable with African-American performers, and being overlooked by mainstream radio. Early’s rousing and rambunctious R & B song “Cadillac Car” is covered by white singers, wrapping it in the musical equivalent of sanitized bubble wrap, and stripping the original of its soul, spirit and vibrancy. Taylor soon turns to payola to get James and the Dreamettes on the Billboard charts. On the personal side, Effie falls in love with Curtis, and Lorrell begins an affair with the very married James. Along for the ride is CC, Effie’s brother, who becomes Rainbow Records main song writer.
Failing to make James into a more pop-friendly act, Curtis turns his attention to the Dreamettes. However, there is a catch. Curtis wants the more slender Deena to take over as lead singer. Curtis believes Effie’s larger figure and more gospel-infused voice wouldn’t attract white audiences. Curtis re-names the Dreamettes to the Dreams (and turns his affections to Deena). He carefully crafts their look to be more glamorous and has them sing more pop-oriented songs. Soon the Dreams are at the top of the charts and are hugely popular among music fans of all races. However, not surprisingly, Effie is not happy to be pushed into the background, and becomes more and more petulant. Soon she is replaced by Curtis’ secretary Michelle (Sharon Leal).
By the 1970s, the Dreams are re-named Deena Jones and the Dreams, and Curtis and Deena are married. Rainbow Records has moved to Hollywood, and Curtis has discovered new pop/soul acts. Curtis wants to expand Rainbow Records into the movie business, hoping to have Deena star in a movie about Cleopatra. However, Deena is not thrilled with the idea and has different movie roles in mind.
Early also struggles with Curtis over his image and the music he wants to sing. Early, a hybrid of the late James Brown and Marvin Gaye, wants to sing a socially-conscious song, but Curtis nixes the idea claiming that music is meant to sell, not to send a message. Frustrated by Curtis’ control, James turns to drugs and his relationship with Lorrell falls apart.
Meanwhile, Effie does not fare well. She’s broke and trying to raise her daughter, Magic, alone. She’s also trying to get her music career back on track even though she has a reputation of being a difficult diva. She makes amends with people from her past and starts performing in local blues clubs.
Curtis, in his quest to stay current, has Deena Jones and the Dreams make the transition from soul to disco. Effie, now reunited with her brother CC, is struggling to make a comeback. Effie records a single, “One Night Only,” but Curtis gets his hands on it and has Deena and the Dreams record a more danceable version. It’s not long before Deena finds out about Curtis’ scheme, and things are in place for Deena to assert herself, Effie to have her original song heard, and the all of the Dreams sing together as a cohesive group.
“Dreamgirls” boasts a cast of superstars, but this is truly Jennifer Hudson’s movie. She simply embodies the proud and difficult Effie White. Ms. Hudson doesn’t act Effie; she is Effie, at times both vulnerable and infuriating. You want to hug her and shake some sense into her. I’d be hard-pressed to think of a newcomer to film making who has made such a riveting first impression.
The showcase song of “Dreamgirls” is the roof-raising “And I Am Telling You” sung by Effie, with both rage and heartbreak. Ms. Hudson puts her very heart and soul into the song. I got goosebumps, the hair stood up on the back of my neck, I shed a few tears, and the whole theater broke into both cheers and applause.
Eddie Murphy also shines. James Early is inspiring with his pure joy of performing and heartbreaking as he struggles to be the artist he wants to be. Many of his musical performances sizzle with energy and enthusiasm. Beyoncé’s Deena has an air-brushed and sleek vacuity, which portrays her as an empty vessel waiting to be filled by Curtis’ vision. And Jamie Foxx’s Machiavellian Curtis Taylor proves his Oscar for “Ray” was no fluke.
In “Dreamgirls,” many performances stay in your mind long after the closing credits have rolled. Among the musical standouts are the heartfelt “Family” sung by a majority of the principle characters, and “Fake Your Way to the Top,” a show-stopping, get up and dance number sung by James and the Dreamettes. “Listen,” a song not in the original Broadway production, is sung by Beyoncé and is both touching and empowering. “Listen” should be remembered come Oscar time.
The behind scenes teams of costume design, art direction and film editing also deserve recognition. In the beginning, the Dreams are adjusting their cheap wigs and wearing off the rack dresses. At the height of their fame, the Dreams are clothed in glamorous Bob Mackie inspired gowns. The album covers of the music stars are also spot on with their 1960s and 1970s lettering, photography, and graphics. And the editing keeps the movie running smoothly.
“Dreamgirls” does not sugarcoat what the performers faced in their careers and personal lives. The film portrays both the racial unrest and racism of the time, as well as drug use, poverty, the sleazy shenanigans of the music business, and women being controlled by men.
Ultimately, “Dreamgirls” is a spectacular cinematic experience that has proven delightful and inspiring to audiences. Several years ago, the critical and commercial hit, “Chicago” brought the musical back to the silver screen. “Dreamgirls” makes you hope that musicals are back for good.
