DREAMGIRLS opened on Broadway in 1981 and was in the running for a film version long, long before it closed in 1985. Very loosely based on the lives and career of The Supremes, it told the story of a black girl group whose cross-over from "race records" to the pop charts fuel the success of an increasingly cut-throat recording mogul--and find the price of fame and fortune in the recording industry too high for their liking. While it borrows a great deal from numerous music personalities and stories of the 1960s and 1970s, DREAMGIRLS is essentially a riff on the career of The Supremes and the group's relationship with Motown founder Berry Gordy.
The Supremes were originally created by Florence Ballard, a powerhouse vocalist who worked with Diana Ross and Mary Wilson as back up singers. Berry sought a group that could cross over into the pop charts and reformulated the line-up, moving the prettier Diana Ross to lead--and ultimately dismissing Ballard from the group entirely, replacing her with Cindy Birdsong. After the music industry turned its back on Ballard, she declined in alcoholism and poverty and died at age 32. She is widely regarded as one of the great tragic figures on the long list of American rock and roll casualties.
When DREAMGIRLS opened on Broadway in 1981 critics praised its powerhouse performances and its dazzling staging--but were somewhat less favorable toward its script and score, noting that the characters were one-note and with one or two exceptions that the score was neither memorable nor able to capture the sharply crafted pop hooks of the Motown style it tried to mimic. Even so, the play ran five years, and over the years numerous studios, producers, directors, and stars have took a crack at bringing it to the screen--something that didn't happen until 2006. And once more critics praised its powerhouse performances and dazzling staging--and were considerably less enthusiastic about its script and score.
The great flaw in DREAMGIRLS is that, while it centers on the story of Florence Ballard, neither the stage nor screen version actually has the nerve to play it out: it, the rivalry between Ballard and Ross, and the brutalities of the music business are actually somewhat underplayed in an effort to place every character in a softer light. As for the music, the score does include the stunning "I'm Telling You I'm Not Going," but the original criticism stands: although pleasant enough, the songs are not particularly memorable and they do indeed lack the sharp, slick edges of the Motown sound that inspired them.
Like many another period film, the look is not really accurate: instead of accurately depicting the 1960s and 1970s it is that era as seen through a modern filter, the 1960s and 1970s as we tend to recall them rather than as they actually were. Even so, there is plenty of visual splash; the costumes, the concert stagings, and the overall art design is quite fine, and you never actually question accuracy while it unfolds before. And then there are the performances.
With the exception Jamie Foxx, who seems slightly miscast in the role of music manager and producer Curtis Taylor, DREAMGIRLS is filled with memorable performances. Although she does not imitate Diana Ross per se, Beyonce Knowles captures Ross' look and sense of style remarkably well; Danny Glover offers a memorable turn as agent Marty Madison; and overall the supporting cast is quite fine. But the big noises her are Eddie Murphy as James Early, a role based on several singers of the era but most particularly on James Brown, and Jennifer Hudson as Effy White, the role based on Florence Ballard.
Murphy's film career has been very up and down over the years, ranging from the popular 48 HOURS to the disastrous HARLEM NIGHTS, and he is at present best known for such mild comedies as DR. DOOLITTLE and NORBIT. He typically plays himself--but DREAMGIRLS puts him on the acting map in a serious way. Not only does he does he offer an extraordinary bit of work as the flamboyant but self-destructive R&B singer, he tears strips off his musical numbers. Prior to her appearance in DREAMGIRLS, Jennifer Hudson was best know as an also-ran on television's American Idol, which entirely failed to anticipate the depths of her vocal talents and acting skill. DREAMGIRLS, however, exploited what television missed--and while it is technically a supporting role, Hudson's Effie White is the glue that holds the whole thing together. It is easily the most remarkable screen debut since Barbra Striesand's 1968 FUNNY GIRL.
DREAMGIRLS is not a "perfect" film, much less a "great" musical. As previously noted, the script is a bit weak and the music slightly below expectations, and when all is said and done it's a bit too glossy for its own good. But it is easy on the eyes, the cast is solid, and you'll never be less than amazed by Murphy and Hudson. The one-disk DVD offers extended scenes but little else; if you are a hardcore fan you'll no doubt want to go with the double disk special edition. Recommended.
GFT, Amazon Reviewer
The Supremes were originally created by Florence Ballard, a powerhouse vocalist who worked with Diana Ross and Mary Wilson as back up singers. Berry sought a group that could cross over into the pop charts and reformulated the line-up, moving the prettier Diana Ross to lead--and ultimately dismissing Ballard from the group entirely, replacing her with Cindy Birdsong. After the music industry turned its back on Ballard, she declined in alcoholism and poverty and died at age 32. She is widely regarded as one of the great tragic figures on the long list of American rock and roll casualties.
When DREAMGIRLS opened on Broadway in 1981 critics praised its powerhouse performances and its dazzling staging--but were somewhat less favorable toward its script and score, noting that the characters were one-note and with one or two exceptions that the score was neither memorable nor able to capture the sharply crafted pop hooks of the Motown style it tried to mimic. Even so, the play ran five years, and over the years numerous studios, producers, directors, and stars have took a crack at bringing it to the screen--something that didn't happen until 2006. And once more critics praised its powerhouse performances and dazzling staging--and were considerably less enthusiastic about its script and score.
The great flaw in DREAMGIRLS is that, while it centers on the story of Florence Ballard, neither the stage nor screen version actually has the nerve to play it out: it, the rivalry between Ballard and Ross, and the brutalities of the music business are actually somewhat underplayed in an effort to place every character in a softer light. As for the music, the score does include the stunning "I'm Telling You I'm Not Going," but the original criticism stands: although pleasant enough, the songs are not particularly memorable and they do indeed lack the sharp, slick edges of the Motown sound that inspired them.
Like many another period film, the look is not really accurate: instead of accurately depicting the 1960s and 1970s it is that era as seen through a modern filter, the 1960s and 1970s as we tend to recall them rather than as they actually were. Even so, there is plenty of visual splash; the costumes, the concert stagings, and the overall art design is quite fine, and you never actually question accuracy while it unfolds before. And then there are the performances.
With the exception Jamie Foxx, who seems slightly miscast in the role of music manager and producer Curtis Taylor, DREAMGIRLS is filled with memorable performances. Although she does not imitate Diana Ross per se, Beyonce Knowles captures Ross' look and sense of style remarkably well; Danny Glover offers a memorable turn as agent Marty Madison; and overall the supporting cast is quite fine. But the big noises her are Eddie Murphy as James Early, a role based on several singers of the era but most particularly on James Brown, and Jennifer Hudson as Effy White, the role based on Florence Ballard.
Murphy's film career has been very up and down over the years, ranging from the popular 48 HOURS to the disastrous HARLEM NIGHTS, and he is at present best known for such mild comedies as DR. DOOLITTLE and NORBIT. He typically plays himself--but DREAMGIRLS puts him on the acting map in a serious way. Not only does he does he offer an extraordinary bit of work as the flamboyant but self-destructive R&B singer, he tears strips off his musical numbers. Prior to her appearance in DREAMGIRLS, Jennifer Hudson was best know as an also-ran on television's American Idol, which entirely failed to anticipate the depths of her vocal talents and acting skill. DREAMGIRLS, however, exploited what television missed--and while it is technically a supporting role, Hudson's Effie White is the glue that holds the whole thing together. It is easily the most remarkable screen debut since Barbra Striesand's 1968 FUNNY GIRL.
DREAMGIRLS is not a "perfect" film, much less a "great" musical. As previously noted, the script is a bit weak and the music slightly below expectations, and when all is said and done it's a bit too glossy for its own good. But it is easy on the eyes, the cast is solid, and you'll never be less than amazed by Murphy and Hudson. The one-disk DVD offers extended scenes but little else; if you are a hardcore fan you'll no doubt want to go with the double disk special edition. Recommended.
GFT, Amazon Reviewer