Dreamgirls

Synopsis:

It is the early 1960’s and a group called The Dreamettes are struggling to get noticed. The trio, led by the powerful voice of Effie White (Jennifer Hudson), are undoubtedly talented, but Detroit’s newly born Motown scene is crowded with other hopefuls. At a local talent show Effie and her soul sisters Deena (Beyoncé Knowles) and Lorrell (Anika Noni Rose) sing their hearts out but still fail to win. They do attract the attention of Curtis Taylor Jr. (Jamie Foxx), a wannabe record producer with a big ego and even bigger dreams. Curtis sweet talks the reluctant Effie and her songwriter brother C.C. (Keith Robinson) into accepting their first paid gig – singing backup for James “Thunder” Early (Eddie Murphy). Before long the renamed “Dreams” have their own act, but they soon learn that fame has a price.

Review:

Screen musicals are dead. At least that’s been the conventional wisdom for the last 40 years or so. Even when that perennial iconoclast Baz Luhrmann sprang Moulin Rouge! on the world in 2001, few people thought that the musical had truly been reborn. But since then we’ve seen Chicago, The Phantom of the Opera, Rent and dozens of other musical flavoured films like Walk the Line burst onto the big screen. And if you need any more proof that filmmakers and audiences are embracing the form again, just watch Dreamgirls.

Adapted from the mega-successful Broadway production of the same name, Dreamgirls is as traditional as a musical gets. Sure, the songs may be soulful Motown hits instead of Oklahoma style show tunes, but the principle is the same – forget the intricate plot and dazzle the punters with song-‘n-dance numbers.

And dazzle us they do, with lavish costumes, great sets, nifty dance moves and some truly spectacular vocal performances. In fact, these numbers are so good that they completely overshadow everything else in the film. The rags-to-riches-to-ruin story is pretty standard after all, and the acting is mostly average (Jamie Foxx is uncharacteristically flat). But when you’re watching the trio and the electric Eddie Murphy strut their stuff on stage, it’s hard to care.

But who do we have to thank for these marvels? Writer-director Bill Condon certainly deserves a large chunk of the credit. It was him who managed to coax the jealously-guarded rights out of legendary producer David Geffen; him who adapted the stage production for screen; and him who commissioned the additional songs, two of which received Oscar nominations. It is his glittering, fabulous vision that we see up there on screen, a vision he brought to life with the help of creative geniuses like double-Oscar winning production designer John Myhre and ten-time Oscar nominated sound engineer Michael Minkler.

Of course, the cast deserve their share of the credit. Eddie Murphy is a revelation, prowling through the movie like a loveable, oversexed alley cat and belting out tunes like he was born with a mic in his hand. Jennifer Hudson is equally good, anchoring the movie emotionally and holding us rapt with her powerful, soulful voice. As for Beyoncé Knowles, it’s hard to see why she was nominated for a Golden Globe. Her performance is certainly understated and earnestly felt, but playing an R&B singer is not exactly a stretch.

The film is not without its faults. For one thing, it’s at least two songs too long. Jennifer Hudson’s voice is a marvel, but eventually it becomes too much of a good thing. With a more inventive plot this might not be a problem, but we can see everything coming a mile away. Compared to the buttoned-down brilliance of Bill Condon’s other work, films like Gods and Monsters or Kinsey, this is really quite a flimsy little film. The few stabs it makes at social commentary are half-hearted at best.

Luckily life isn’t just about serious art and grand philosophical ideals – there’s plenty of room for good old-fashioned fun. Dreamgirls may not be Condon’s richest or most complex work, but it’s certainly his most exuberant. And if you’re going to be dining on candyfloss, at least make it the kind that comes with the solid gold stick and the silver sprinkles.

- Alistair Fairweather