Broadway musicals typically hold a place on or near a certain street in New York City. Occasionally they leave that street, traveling around America and beyond presenting essentially the same show in different, unfamiliar venues, but keeping the same general feel of the original.The transition from stage to screen is not as simple. The result can be a top-notch film (“Oklahoma!,” “Oliver!”), which is rare, or it can be a horrid disaster (“The Producers,” “The Phantom of the Opera”). Sometimes the translation comes through someone who doesn’t know the language, and that makes for bad film.
Fortunately for “Dreamgirls,” writer/director Bill Condon has experience with this sort of thing. In addition to taking home an Oscar statuette for writing the 1998 drama “Gods and Monsters,” he has already received an Academy Award nomination for writing a musical: 2002’s Best Picture recipient “Chicago.” This is familiar territory for Condon, and it shows.
Condon has left the outstanding soundtrack from the 1981 stage production intact with no signs of age. The songs range from Motown to disco, and even the latter manages to be incredibly well-written. The style of the songs changes with the period of the film, opening a window to the changing times that parallel the evolution of the characters.
The Dreamgirls’ progression through the music industry occurs during several historic American events including the Detroit race riots of 1967 and Martin Luther King Jr.’s “I Have a Dream” speech. These events prove that the group’s rise to success is miniscule compared to the state of the nation, but the group members are so focused on their music that they seem to miss all that’s happening to the world around them. Maybe that’s why the music is so good.
The majority of the songs take place on stage and during concerts, at first making the movie seem less like a musical than a film about a musical group. When the songs become more plot involved and conversational they seem to come out of nowhere, which seems a little out of place at first. Once it becomes apparent that this is a full-fledged musical, though, the confusion dissipates into awe as the cast members pour their souls into every song.
The music may remain intact on the journey from stage to screen, but “Dreamgirls” wouldn’t be a movie if it was exactly like the stage production. Moving away from the sets of Broadway, Condon takes the titular characters along the road to stardom to arrive at one of the most excellently filmed and edited movies in years. The pacing of the film is incredible, blending scenes seamlessly together to maintain a sense of the speedy rise of the girls’ careers, but slowing down perfectly when the emotionally-charged numbers begin. These pieces represent the strongest segments of the film and display the vocal prowess of the cast.
The strongest of these performances surprisingly comes from former “American Idol” contestant Jennifer Hudson who, as Effie White, virtually fills the theater with conflicting emotions as she sings “And I Am Telling You I’m Not Going.” It’s not often that an actress’ debut role allows her to show such depth of character, but Hudson hits Effie’s stubborn determination like so many chill-inducing notes in her arsenal. Expect Hudson to receive an Oscar nomination for this one.
Another shockingly deep performance comes from Eddie Murphy (Jimmy “Thunder” Early), who gives his first good live-action performance since, well, “Beverly Hills Cop.” Murphy’s Jimmy Early has an attitude somewhere between James Brown and Little Richard, which shows in his actions both on and off stage. Murphy’s portrayal of Jimmy Early shows all the nuances of a man whose drive for success constantly conflicts with his need to be himself, which leads to disagreements with his avaricious manager Curtis Taylor, played by the ever-versatile Jamie Foxx.
Taylor’s ambition gradually overrides his compassion, creating an incredible portrait of a man who allows fame to go to his head. His complete lack of altruism is not something often seen in Foxx’s characters, but it’s hard to imagine anyone else in the part. Taylor fills the role of the lying, deceitful manager, but with such close ties to the people he represents, his overwhelming self-interest is more unnerving to the point of discomfort.
Beyonce Knowles’ Deena Jones puts up with Taylor as much as she can, proving that Knowles can seriously act when given the chance. No longer Foxxy Cleopatra, Knowles puts power into both her music and her dialogue in “Dreamgirls,” capturing the frustration of an innocent girl who finds herself unfairly exploited.
The performances can’t be perfect, though. The only weak showing comes from Danny Glover as Jimmy Early’s manager, Marty Madison. Glover doesn’t really pull off the haughtiness of his character’s early stages, becoming much more believable later in the film after he experiences loss. Glover’s change in the latter part of the movie salvages the role to the point of being acceptable, but his early lack of believability leaves Marty Madison looking lopsided.
Though the movie contains more music than plot, the story of the ups and downs of fame maintains originality despite its banal premise. The friendships and betrayals portrayed in the film hold water thanks mostly to the actors’ abilities, keeping the plot involving throughout its entire two hours.
“Dreamgirls” proves that Broadway musicals can be decent movies that don’t have the names “Rodgers” or “Hammerstein” emblazoned upon them. Condon and his superb cast bring hope back to the genre, camp-free.
DREAMGIRLS
Paramount Pictures
Rated PG-13
STARRING:
Jamie Foxx, Beyonc Knowles, Eddie Murphy, Danny Glover, Anika Noni Rose, Keith Robinson and Jennifer Hudson
THE VERDICT:
Well-written music complements brilliant acting in Bill Condon’s musical about the hardships of a group of fame-bound singers.
3.5/4 stars