Dreamgirls (Bill Condon, 2006)

[Barmy]

From David Poland (somewhat of an idiot):

Dreamgirls Wake

Overture, curtain, lights
This is it, the night o' nights
No more rehearsing and nursing our parts
We know every part by heart

Overture, curtain, lights
This is it, to hit the heights
And, oh what heights we'll hit
On with the show, this is it

Dreamgirls landed in Beverly Hills (and across the country) last night… and left a giant crater in the Oscar season.

The film was everything promised and more.

More than a traditional musical, as there are only three or four numbers that really feel like traditional musical numbers, and the first of those comes an hour into the film.

More than an all-black movie, which it is, but with a cast of many familiar faces and not real self-awareness of its blackness. It's like the old question, is Chinese food in China "Chinese food" or just "food?"

More than Chicago, which some worried was too cynical to win. Dreamgirls is an emotional musical with highs and lows and real generosity to all of its characters. (Forget the silly talk about Diana Ross being angered by the film. Her character stand-in, played by Beyonce, is a full character who grows into her womanhood. If she were to complain, she would be laughed at.)

The evening, produced by Team DreamAmount, could not have gone much better. It would only be fair to note that it was very much like a premiere, filled will friends and family… and it was not unlike a gay cotillion. When wild applause broke out a few times during the film before the anticipated number started, you knew you were in a room with plenty of theater queens.

That said, it was the enthusiasm after many of the numbers that was amazing. At least seven numbers got applause breaks, including the famous take-away at the end of "I Am Telling You," where as the Michael Bennett did with the musical, Bill Condon jumps immediately into the middle of another number. The show must go on.

There isn't a bad performance in the movie. But the powerful surprise is Jennifer Hudson, who will be winning an Oscar this year, no matter what category they run her in.

The studio long ago decided to go supporting, but the HFPA is considering moving her to lead and she is, indeed, the lead of this film. There is a fear of Dame Helen, but the reality is that this performance would win in any category, whether Actress, Supporting Actress, or Best Short Film. The reason to move her to lead would to make an opportunity available for another performance…

Beyonce absolutely deserves a Best Supporting Actress nomination for her role in Dreamgirls. But given the brutal fight for Best Actress slots, I don't believe she can be sure of even a nomination there. As you watch the early parts of the film, it's not real clear that she deserves Academy recognition, but she really soars in the third act with a number of sequences, particularly with her performance of a new Henry Krieger song, "Listen," done almost completely in close-up.

And again… Jennifer Hudson will have an Oscar before the end of February.

Eddie Murphy is terrific here. He is not playing "Eddie Murphy." It is a nuanced performance and his singling leaves people wondering whether it was actually him. He, too, gets a new number, "Patience," on which he duets with Anika Noni Rose. Sign him up for a nomination, though the odds on him winning will have a lot to do with who else ends up in the category.

Jamie Foxx really plays the bad guy in the movie. He kind of devolves from well meaning scumbag to megalomaniacal scumbag. He does a nice job, but he is the one character to whom audiences just won't be able to cozy up. Thing is, the film really needed - and got - his strength and presence in the role. It just isn't very forgiving.

Did I mention that Jennifer Hudson can win whatever Oscar she is up for?

The film feels more like something like The Commitments than a full out movie musical. The numbers are big, but most of them are performance. And the storytelling is surprisingly personal. The three acts - 1. Making It, 2. Breaking It, 3. Seeking Redemption - are distinct as in most non-musical dramas. And each of the major characters gets their opportunity to step up.

In classical Condon, the film doesn't scream at you. But it does envelop you and draw you to each character and the overall arc. Anika Noni Rose's character, for instance, is on some level a classic caricature. But then, she turns into a very real young woman. And her choices, even when there are no words to call attention to them, are a part of the film experience.

The thing that really sticks with you about the Dreamgirls experience is that there is a real joy of performance and show business and artistry. There are many terrific films in play for the Oscar season right now. But none has the size and the fun and the revelation of performance that Dreamgirls offers.

The most nominations ever for a film is 14. Here are the 16 that I think Dreamgirls is capable of receiving… and *s on the ones I think it can realistically win.

* Best Picture
* Actress - Jennifer Hudson
Supporting Actress - Beyonce Knowles
Supporting Actor - Eddie Murphy
Direction - Bill Condon
Adapted Screenplay - Bill Condon
* Production Design - John Myhre/Tomas Voth/Nancy Haigh
* Costume Design - Sharen Davis
* Editing - Virginia Katz
Cinematography - Tobias Schliesser
Make-Up - Shutchai Tym Buacharern/Francesca Tolot
* Sound - Michael Minkler
Sound Effects Editing - Richard E. Yawn
* Best Original Song - Listen
Best Original Song - Patience
Best Original Song - Love You I Do

Of course, there is still a debate to come on slotting of the actresses. Jack Nicholson in Supporting Actor will be very difficult to beat… even for Eddie Murphy.

It still looks like Scorsese's year in Director and musical screenplay adaptations don't tend to win, so Mr. Condon could go Oscarless. But I guess winning Best Picture will just have to suffice.

[Antoine Doinel]

I felt nothing for Chicago and have pretty much no desire to see Dreamgirls. Remember, Dave Poland said last year that Phantom Of The Opera was going to kill at the Oscars so take his review with a box of salt.

[Barmy]

Yes, but everyone seems to be gushing about it. I'm not sure who the audience for this thing is. Will any straight male voluntarily go to this?

[Jeff]

Will any straight male voluntarily go to this?

This one will. I've got no major issues with musicals, and I've enjoyed Condon's previous work well enough.

[Fletch F. Fletch]

From David Poland (somewhat of an idiot):

Her character stand-in, played by Beyonce, is a full character who grows into her womanhood.

This line really made me laugh. He should have his press credentials yanked for using such a cliche without a hint of irony.

[David Ehrenstein]

Saw it last night too. Quite teriffic. Easily the most enormous movie Bill Condon has ever made. And it's a genuine musical. Very fast moving. All the performers are good but Jennifer Hudson is indeed a stand-out. They should put her up for Best Supporting which she'll win in a walk. (The Best Actress Oscar belongs to Dame Helen.)

Truly amazing production design. Delicously overscaled. The house that Beyonce and Jamie Foxx are living in in one scene seems to have been designed by The Jetsons. Most hilarious bit is the montage of the covers of the group's hit albums -- all of them are Supremes covers with Beyonce instead of Diana.

The original show had crossover appela from the start as the black pop music that was its subject had crossed over a decade before. The film is perfect for Christmas -- a great big jam-packed jamoree that should appeal to everyone looking for a Big Show for the holiday season.

ie. Not just gay men.

Henry Kreiger (who was there last night) is the only one opf the show's original creators still alive. Michael Bennett (to whom the film is dedicated) and Tom Eyen both died of AIDS.

[Barmy]

Well, although I won't see it, I will have to hand it to Condon if he pulls this off. I liked "Gods and Monsters" and hated "Kinsey" (one of the most useless biopics ever, and there's a lot of competition). "Dreamgirls" of course looks like quite a departure. Is this his attempt to move out of the gay director ghetto?

[Highway 61]

Hey David, what did you think of Eddie Murphy? Is this a return to form?

[Matt]

"Dreamgirls" of course looks like quite a departure. Is this his attempt to move out of the gay director ghetto?

No better way to do that than to direct a musical.

[jon]

"Dreamgirls" of course looks like quite a departure. Is this his attempt to move out of the gay director ghetto?

No better way to do that than to direct a musical.

what a nice set up, i never get that lucky

The film doesn't interest me at all, looks worse than Chicago. Best Picture Potential?

...Ray 2 ><

[THX1378]

I just can't see why all the hype is being made about this film. It looks good, but it doesn't look like it's best picture material. I said the same thing about Chicago, and that turned out to be one of the most overrated films I've ever seen. But I hate to say it that I think that the oscar race is going to be between The Departed, and this film.

[jon]

kidding about best picture potential, but nah, i dont see how this will be able to compete with departed

[Antoine Doinel]

If Chicago could be nominated for Best Picture, let alone win, Marty should be worried.

[Barmy]

Dreamgirls is the feel good movie of the year!!! =D> =D> The Departed is a bit of a downer, no?

Based on the buzz, The Departed has no chance at best pic.

[David Ehrenstein]

Is this his attempt to move out of the gay director ghetto?

All musicals are gay -- even if they're directed by heterosexuals like Robert Wise.

Eddie Murphy and Jamie Foxx are both good but this movie belongs to the ladies.

[marty]

I was in two minds about whether I would see the film but with all the Oscar hype about Eddie Murphy and Jennifer Hudson (American Idol contestant!), I will definitely be checking it out.

I just heard this song that Jennifer Hudson sings in the film and she nails it so looking forward to the film very much now, or maybe Effie should have been played by an 11 year old white girl from Philadelphia, then again, nobody does it better than the original singer.

[John Cope]

I can't wait for Armond's take on Dreamgirls.

This one goes out to you, Barmy

[Barmy]

I love it, although I was hoping for a Rex Reedish rave!!!

[milk114]

I'd like to say, for the record, that at the end of Armond's first paragrah,

"thoughtlessly jumbled and coarsened into a hebephrenic climax."

made me laugh out loud. I thought he was going to make a joke about a homosexual Jew working with black female stereotypes. And showing my own latent racism, I immediately knew what 'hebephrenic' meant=Woody Allen.

[Jean-Luc Garbo]

Aunt Jemima Ex Machina indeed! Brilliant!

[jorencain]

Well, my wife brought me to see this yesterday, and it just didn't do anything for me. For the first 15 minutes I was very much involved, in which the energy level was high and the fast editing/plot progression almost reminded me (I hate to say it) of Scorsese. After that, though, I really lost interest. Jennifer Hudson sings the first of her huge over-the-top tunes midway through, and I just wanted her to stop screaming. I hoped the movie were ending soon thereafter. It just becomes way too much; I really wish they had taken out a few of the songs and moved the plot forward with dialogue a little more because it became very grating to me.

I was very surprised, after all the hype about everyone's performances, that there was very little "acting" for anyone to do. There is so much that needs to be fit into this 2 hour movie that many things seemed skated over, and then the rest of the time is comprised of power ballads. Everyone's singing was fine, but I don't think that Eddie Murphy was really in the film enough, or that Jennifer Hudson did much (beyond her singing), to warrant all this Oscar-talk.

Anyway, I'm sure fans of musicals will like this (my wife really did). There was a big response from the packed theater I was in also, so I may be the odd man out on this one.

[THX1378]

My mom made me go see it tonight with her since my dad wouldn't go. I was surprized that I like it, but it's not one of the best films of the year. It was leaps and bounds over Chicago, and thats not saying much at all. I can say thats it's a good film, but not a great film. I can see it getting a nom for best picture just because they have to have one feel-good film up for best picture. But I don't think that the film will win *I have a feeing that it's going to be an Eastwood/Scorsese rematch because out of the blue came Letters, and it's getting better reviews than Flags did*. As for the film, I agree with everyone that Jennifer Hudson is the film. Beyond her, everyone really has overhyped most of the acting in the film, that means you Eddie Murphy *good, but not great in his role, this really isn't his comeback role since he isn't in the film that much*

[Highway 61]

This did nothing for me either, which is not to say that it's bad. It's just unremarkable. The movie primary problem is investing in the wrong chracters. Jamie Foxx's predictable downfall seemed to have more screen time than the Dreams for Christ's sake! Beyonce has virtually nothing to do. And as so many others have pointed out, Eddie Murphy and Jennifer Hudson needed more screen time. Also, Danny Glover's veteran manager was a character I would liked to have seen more of, or even Jennifer Hudson's brother. Anything but the cookie-cutter greed is good story that Foxx walked through for over two hours. When it comes down to it however, all this movie really needs is a hell of a lot more Lithgow.

[Fletch F. Fletch]

I quite enjoyed this film. As someone else mentioned, lots of high energy, wall-to-wall music and fantastic attention to period detail (I loved the mock-up album covers for Eddie Murphy's character and for the Dreams as well).

Early on, it felt like the film wanted to cut loose and be a full-blown musical but was being reigned in by the conventions of the biopic. I wondered if the filmmakers were wary of repeating the same mistakes of Kevin Spacey's Bobby Darin biopic Beyond the Sea. However, about 45 minutes in, the musical aspect finally kicked in as the characters started breaking spontaneously into song. And from that point on, it seemed to me that the musical component surfaced only during the scenes that feature conflict between two or more characters.

I dunno, after seeing this movie, I'm starting to think that Eddie Murphy got robbed at the Oscars. Alan Arkin was fine and all that but this role seemed like more a stretch for Eddie. He starts off playing an abrasive character (and yet still making him seem charming) but as the film went on his character took on more tragic dimensions and I actually found myself feeling sympathy for him by the end. More importantly he almost eradicated any vestiges of his crappy 1980s music “career.â€