Besides the Supremes comparison, one can't talk about Dreamgirls now without revisiting its notorious Oscar snub; though it received eight nominations, the most for any film from 2006, it was shut out of the Best Picture and Director races entirely. Was the oversight justified? While Dreamgirls is certainly a handsomely mounted, lovingly executed and often vibrant film adaptation, it inspires more respect than passion, only getting under your skin during the musical numbers, which become more sporadic as the film goes on. Writer-director Bill Condon is definitely focused on recreating the Motown milieu (down to uncanny photographs of Knowles in full Diana Ross mode), he often forgets to flesh out his characters, who even on the Broadway stage were underwritten and relied on powerhouse performances to sell them to audiences. (Stage fans will also note that numerous songs are either truncated or dropped entirely from the film.) Condon has assembled a game cast, as Knowles does a canny riff on the essence of Diana Ross' glamour (as opposed to an all-out impersonation) and Rose makes a peripheral character surprisingly vibrant; only Foxx, who never gets to pour on the charisma, is miscast. Still, there are two things even the most cranky viewers will warm to in Dreamgirls: the performances of veteran Eddie Murphy and newcomer Jennifer Hudson. Murphy is all sly charm and dazzling energy as the devilish Early, who's part James Brown, part Little Richard, and all showman. And Hudson, an American Idol contestant who didn't even make the top three, makes an impressive debut as the larger-than-life Effie, whose voice matches her passions and stubbornness. Though she sometimes may seem too young for the role, Hudson nails the movie's signature song, "And I Am Telling You I'm Not Going," with a breathtaking power that must be seen and heard to believe. And for those five minutes, if not more, you will be in Dreamgirls' thrall. --Mark Englehart
RRP: £19.99
Our Price: £3.26 (subject to change)
Editorial
Amazon.co.uk Review
The spirit of Motown runs through the long-awaited film adaption of the Broadway musical Dreamgirls, which centres around a young female singing trio who burst upon the music scene in the '60s, complete with bouffant hairdos, glitzy gowns, and a soul sound new to the white-bread American music charts. Sound familiar? You aren't the first one to draw comparisons to the meteoric rise of the Supremes, and despite any protests to the contrary, this is most definitely a thinly veiled reinterpretation of that success story. The Dreamettes--statuesque Deena (Beyonce Knowles), daffy Lorell (Anika Noni Rose) and brassy Effie (Jennifer Hudson)--are a girl group making the talent-show rounds when they're discovered by car salesman and aspiring music manager Curtis Taylor Jr. (Jamie Foxx). Sensing greatness (as well as a new marketing opportunity) Curtis signs the Dreamettes as backup singers for R&B star James "Thunder" Early (Eddie Murphy). But when Early's mercurial ways and singing style don't mesh with primarily white audiences, Curtis moves the newly-renamed Dreams to center stage--with Deena as lead singer in place of Effie. And that's not the only arena in which Effie is replaced, as Curtis abandons their love affair for a relationship with star-in-the-making Deena.
Worth a watch
Review date: 2008-12-02 Rating: 6 out of 10
A thoroughly enjoyable musical, though not without faults. Aside from Effie (Jennifer Hudson) and Curtis (Jamie Foxx) the characters were badly under-developed, which made the storyline seem jerky. The direction kept switching between musical styles: sometimes it was played as a traditional musical with characters bursting into song mid-sentence, at other times dialogue was spoken with musical numbers kept on stage or in a recording studio.
I'm not sure if some scenes were cut to make way for all the musical numbers (there are a LOT of songs, even for a musical) but some great acting toward the end of the film was too little too late for those characters. For instance Deena (Beyonce Knowles) is a pretty face who doesn't say much at all until the last 10 minutes of the film, despite being in a role that could be construed as the lead character.
There was also a missed opportunity to make more of the race element of the story: a central tenet is that black soul music was dumbed down/prettified to make it appeal to white consumers. There is even a scene set during the Detroit riots and at another point brief mention is made of Martin Luther King Jr, but the references are lost to a tangle of love stories. The singing is the one thing I cannot fault: top notch from everyone involved.