Dreamgirls
In 1997, my second year at Georgia State, I was taking Legal Aspects of the Music Industry. As part of the class, we were told to read “Hit men,” by Frederic Dannen. It’s an expose of the music industry from the Tin Pan Alley days to the ’70s and ’80s, when sex and drugs made for high times at the record company offices and the mob and payola made a hit record. I always thought it’d make a dynamite movie- comparisons to “The Godfather” no doubt fueled such ideas; maybe Scorsese (whose “GoodFellas” I’d just seen) or Altman (whose “The Player” is the sharpest of industry satires) could direct it. But the problem is, it’s story is far too broad- too much time, too many characters and protagonists, too much material down too many storythreads- to film without compromising the virtuosity of Dannen’s storytelling on the page.
Watching Bill Condon’s “Dreamgirls,” I felt as though, even though it’s adapted from Michael Bennett’s hit musical (music & lyrics by Henry Krieger and Tom Eyen), with a central, single storyline, someone had found a successful way of bringing Dannen’s targets of “Hit Men” to the screen without compromising the dark side of success he illuminated for me. Parallels have been made between Bennett’s story of a Detroit car salesman named Curtis Taylor Jr. (Jamie Foxx), who pairs a longtime trio of no-name singers called The Dreams with aging R&B singer James “Thunder” Early (Eddie Murphy) before turning them into bigger successes on their own and the story of the rise of The Supremes and the emergence of Diana Ross as a star. Sure, the comparisons are there when Curtis swaps big-voiced Effie (Jennifer Hudson) both on-stage and in bed for Deena (Beyonce Knowles) as the lead and the key to the Dreams’ success, but I’ll let others chew on that tidbit. Too much thought on the matter detracts from enjoying Condon’s film on its’ own terms.
And you can’t help but enjoy “Dreamgirls.” What made Condon- who won an Oscar for his screenplay for “Gods and Monsters,” which he also directed (he similarly pulled double duty on 2004’s “Kinsey”)- a viable candidate for such an ambitious film? Apart from the clear talent on display in those two films, it was his take on another Broadway smash- his Oscar-nominated script for “Chicago” (which cracked that musical’s tricky nut for the screen)- that made Condon the ideal choice for this film. In both films, his insightful screenplays dig deep into character while deftly moving between singing and speaking. And from “Monsters” and “Kinsey,” you sense a knack for ambitious and specialized stories that makes “Dreamgirls” make sense in his hands. What’s kind of surprising is his ability to make “Dreamgirls” crossover into mainstream appeal without compromising the heart of the story.
Don’t scoff at that last sentence- the crossover from R&B novelty to mainstream smash is core to “Dreamgirls'” story. After a white group bumps the Dreams’ version of a hit song- “Cadillac Car”- from the limelights, Curtis sells out Jimmy and the girls in the name of top dollar and industry power. If that includes casting off Jimmy and Effie for popular success, or lining the pockets of DJ’s and promoters to get their record heard, so be it. And forget feelings and friendships. The drugs and sex that Jimmy’s indulged in for years catch up with him; the breakdown he has onstage at a gaudy “tribute” concert is riveting, heartbreaking, and indicative of the anguish tearing this once-great performer apart. But whereas Jimmy falls into a downward spiral, Effie is able to get herself back up, with a little help from not just her brother C.C. White (Keith Robinson)- sick of Curtis’ greed and arrogance as songwriter for The Dreams- but also Marty Madison (Danny Glover), who was pushed out by Curtis as Jimmy’s manager, and who recognizes the talent in this cast aside now-mother, who still has some fight in her.
In a year already loaded with big and great ensemble casts, the predominantly black one in “Dreamgirls” stands out beyond the color of their skin. All the major roles get strong performances, with Beyonce holding her own in the largely-superficial characterization of Deena, with a new number (“Listen,” which she cowrote) allowing her a moment both dramatically strong and musically sound. Oscar winner Foxx brings smooth attitude to the overconfident Curtis that seduces you to believe his every word even when you can sense the corrupt heart underneath. Glover has not gotten the respect he deserves as the father figure who acts as both manager and mentor both to Effie during her rise from the ashes and Jimmy before his fall from the top. The same can be said of Robinson as C.C. White, the Dreams’ songwriter and Effie’s brother, who finds his loyalty tested with his sister’s dismissed from the group. As Jimmy, Murphy drops the schtick that’s made him a family-friendly star in movies like “Shrek” and “Dr. Dolittle” and scores a personal triumph by returning to the live-wire energy and bruising humor that made him an instant star on “SNL” and in early film work like “Beverly Hills Cop” and “48 Hours.” It’s his best work since his underrated duel turn in “Bowfinger,” but make no mistake- this is the best performance we’ve seen/heard from Murphy onscreen. It really makes it sad to watch him revert to “Nutty Professor” antics for the upcoming “Norbit.”
But while Murphy’s name is “Dreamgirls'” biggest, the best belongs to Hudson, who in just over two hours onscreen goes from “American Idol” castoff to major movie star with an unforgettable performance as Effie. She is the story’s emotional arc- even if Beyonce gets top billing and the Best Actress push- and like her character, Hudson earns our admiration through the good times and the bad. In a cast of top-drawer actors, this singer holds her own in giving a real dramatic performance (though she does have many hilarious moments) that captures the heartache of this fallen spirit, as well as the renewed strength she finds when she’s given a chance by Marty to just be a singer and reunites with Deena to bring down Curtis at the end. Like any great performance, Hudson’s has a lot of wonderful little moments, but the one people remember (and applauded at the showing I was at) is her performance of “And I Am Telling You I’m Not Going,” which she sings at the moment when Curtis is leaving Effie out in the cold. It’s a moment that redefines the term showstopper, and it’s a moment that single-handedly defines the character. It’s also just one reason- of many- “Dreamgirls” has become such an unmissable entertainment for audiences.
