"Dreamgirls" at 10
Thursday, December 15, 2016 at 11:00AM by Chris Feil
With La La Land, isn't it great to have a musical out in front again this Oscar race, especially one that brings such joy (sideyeing you specifically, Les Miz)? And as Nathaniel pointed out, that shouldn't be taken for granted.
Ten years ago, Dreamgirls was a more traditional genre high, and ulitmately taught us not to get too comfortable with a musical's Oscar chances after it landed that year's highest nomination tally but missed Best Picture and Director. But maybe that miss resulted from voters tiring of a campaign that started a full year before release, and not from the quality of the film.
But it's silly to downgrade Dreamgirls's success just to its awards payoff. Don't forget that it was a $100 million hit when that's still all too uncommon for both musicals and all black casts. It has the excitement of reinvigorating a fallen star like Eddie Murphy and introducing a new one like Jennifer Hudson (even if neither have matched this high since). Those reports of mid-film applause breaks could have just been awards season narrative strategy, but they were true all the same.
At the time before release it was as if Hudson simply nailed the musical's centerpiece "And I Am Telling You I'm Not Going" then it would be an open and shut awards case. That iconic number is a huge part of the vocal audience love and her unstoppable train to Oscar, a simply undeniable moment where the world stops just for her performance. It's still simply breathtaking.
But as much as the film deserves more credit as quality entertainment, Hudson should be seen as more than just one landmark. Her strokes are broad, but her Effue is as believable for her brazenness as she is for her vulnerability as for her vulnerability. You don't root for her from one song, but because you experience all of the moments between the highs and lows.
And a performance like that doesn't come from nowhere - you can feel Bill Condon's finese and care with her as much as you can feel it in his other stars like Laura Linney or Ian McKellen. That Condon is a director of compassion for every character is part of what makes Dreamgirls's shared focus of its ensemble work so well. Never has he been a better showman in his more mainstream films, though we'll she what comes of Beauty and the Beast. It may not be the unique vision of modern musicals like La La Land, but it takes skill to deliver the cinematic rush of "Steppin' to the Bad Side" and the straightforward emotion of "Listen".
Yes, even Beyoncé deserves more praise for her Deena Jones. In fact, you can see some of the first spark of the meta and feminist personas she embodies today. Like Deena's journey, the film came shortly after Beyoncé was shedding her group - what may have been a gossipy topic at the time now looks like a less complex prototype for her self-reflection now. In one of her stronger moments, we're supposed to be stunned as she says "fuck", but she shrugs it off unbothered - you can't say she has been interested on commenting on her perceived persona for only a few albums. "Listen" is a hint at the self-actualization anthems that have become her hallmarks.
Dreamgirls is an old fashioned showstopper of uncynical pleasure. As Hollywood has gotten somewhat more comfortable with musicals in the decade since its release, rarely has the genre been so confident in its own medium. Just like Effie at its center, it's a brash but sweet thrill that just want you to love it!
Love it!
LOOOOOOooooooOoOove. Iiiiit!
Reader Comments (39)
Co-sign everything you say here, Chris. I still remember the applause at the end of "And I Am Telling You", the first time I had ever seen that happen in a cinema mid-movie.
I still feel like nomination leader, but no Best Picture or Director nominations feels right for this, though. It's solidly crafted on every level but not one of the best of the year.
I still like it and Hudson in it the "what about what I need" she sells that very well.
Hated it. I grew up with the Supremes on my turntable every day. The musical score for this show had nothing ever resembling a period appropriate representation of the Motown Sound of Young America. Too much 80's screeching and showboating by holding notes on the scale that were not common in the Motown era of pop/r&b. And the rip off album cover representations of "Cream of the Crop," and "Supremes a Go-Go"
And Beyoncé is no Diana Ross; Diana received an Oscar nomination for her film debut. Beyoncé's " acting" in this was almost as bad as her work as Etta James (!). Hudson is certainly no Florence Ballard. . Anika gave hands down the only real performance in the show.
And I hope we can ^^^finally^^^ rest comfortably that we will not have to listen to ANY song from this film during an Oscar broadcast again.
Tell it like it is Darlin'
Patryk - I wanted to be the first one to throw cold water on this lovefest but you beat me to it. I agree with everything you say. The music is so wretched, and whatever the shortcomings of Ray or I Walk the Line, at least they got that part right. The only thing I would add is that Eddie Murphy is stupendous and the only reason to watch this thing. Of course he was the one who got snubbed (for his offscreen assholery as much as anything), while Jennifer Hudson got an undeserved Oscar which should have gone to Adriana Barraza or Cate Blanchett.
*Rinko Kikuchi or Abigail Breslin
It still bothers me to this day that JHud wore flats during "I'm telling you I'm not going."
Haha, totally agree MM in DC. It's all I can remember about this film, why did it bother me SO much???
Never understood the hatred of this movie then, and don't understand it now.
I was with you up to the "Beyoncé deserves more praise for her Deena Jones". Beyoncé is so self aware during the whole damn time. She is such a calculated performer and at this point she was still bad at disguising it. There's no emotion left on the screen, just this big sense of purpose.
Divas become grand and larger than life as a result of their art, her art is a performance of grandness and in this movie it shows so much.
Chris, I always love your writing and observations and enjoyed reading this. But wow, you're awfully kind to this movie and to JHud. I think her attempt at acting when not singing is just so amateurish and bad. You can see Condon trying to help her, and he protects her from embarrassment, but she is always pushing for effect rather than, you know, just listening like a regular human being. I do think that killer 360 shot that Condon does at the musical high point of the title number is breathtaking, though. Thanks for another good article!
Chris, cosign everything you wrote. It really holds up. I wish we could see more finely crafted, old-fashioned movie musicals like this that steel feel contemporary in the best sense. Whatever detractors say about Hudson's Oscar victory, that single scene really still floors you. In the dramatic scenes, when she's the focus, she delivers. Her inexperience shows in larger scenes when she's not really a part of what's unfolding and she doesn't feel a part of the larger dramatics. I so wish she had had a better career after this, but alas it wasn't meant to be.
MM in DC and JB, I thought I was the only one whom that bothered. I assume it's because J. Hud is 5'9" flat-footed, so Condon didn't want her to tower over Foxx (also 5'9"), which she would have in heels.
Though the film does have its flaws, I've found that many people who dislike it (and the stage version) tend to dislike that style of music and/or singing (hence, criticisms like "Scream Girls"). I've always thought that it's one of the better recent adaptations, and however one feels about Hudson's overall performance, her rendition of "And I Am Telling You" was indeed a star-making moment.
We were just talking about Dreamgirls last night. I literally always forget that Beyonce is in it. She is just so unremarkable. Everyone else completely outshines her. Film acting is not her forte.
@Patryk
Beyonce showed off her Cher chops as Etta James.
"And I Am Telling You.." is always going to be a tour de force if the singer has skills, but my favorite two Effie moments in any production are "Move" and especially "I Am Changing." Hudson nailed them both (and the new song too).
@ V.: I really like the way you articulated that.
I will agree that there was a media steamroll that resulted in the one of the worst Oscar wins ever - Jennifer Hudson. She's an incredible singer, but not an actor. There were scenes when it was obvious that she was looking to the director for direction. I never saw any growth or maturity in the character, it was one note. I didn't even feel for Effie White the same as I did when I saw it on stage. She wasn't that likable as portrayed by Hudson. And I think the focus on getting that Oscar for Jennifer (which began before the movie was filmed - I recall reading a story immediately after her casting that mentioned Oscar) overshadowed the performance that actually did deserve to win - Eddie Murphy's.
I loved the stage version, saw it three times. And I think the decision to beef up the Deena Jones role is what made the movie version so much less than it should have been.
Eric - thanks!
This was one of the most enjoyable and memorable theater experiences I've had. Saw it Christmas day and it was just electric. Applause after the big number and applause again for Hudson's name during the end credits. Magical.
Patryk- Agree with you all the way, Dreamgirls is just unbearable.... Hudson is, undeniable the best in show, but she doesn`t have to beat a lot of super talented actors, Foxx and Murphy are always difficult to watch ( and always for the wrong reasons, and not just here , think Foxx in The Soloist.....awful , and Murphy, well, basically everywhere ), Beyonce should never ever try acting again, not that she`s totally terrible ( Rihana someone ?), she`s easy on the eyes and a talented singer, but as an actor she`s so self aware and her range lacks depth , she`s not an actor that can sing, she`s just a singer that can not act. As for the Oscar for Hudson, it`s yet again the Academy doing those WTF moments , especially if we remember Cate Blanchett`s tour the force in Notes on a Scandal.
Yeah, no. I thought Dreamgirls was lackluster upon its release and found it just as weak upon watching it again last year. Jennifer Hudson has great pipes but she is simply not a strong actress, and Beyonce & Jamie Foxx were both mediocre. To me the one who truly shined was Eddie Murphy. I don't particularly like him as a person, but he did a fine job and I think his performance was most definitely Oscar worthy.
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I can't agree. I think the acting in this movie is very weak. Thank God for the songs!
Oh, yes. I still have the special Vanity Fair with Jamie Foxx (who's terrible in this movie), Beyoncé Knowles (serviceable), and Eddie Murphy (magnetic) on the cover. The issue date: December...2005. LOL
Tangentially, perhaps the most head-scratching of all is that Bill Condon followed up Dreamgirls with two (terrible) Twilight film. This from the director who preceded it with Gods & Monsters and Kinsey. Weird.
After seeing Babel a second time, I would have given the Oscar to Rinko...and yes, with those flats, JHud walked and wobbled a little bit like Frankenstein in her big scene. But I have to give it to JHud for keeping it going for ten years...we know her epic voice is always going to be in demand, but she is still getting cast as an actress and there is growth there...very impressed with her work in Chi-Raq (a bold movie and a hard movie to embrace due to the verse)...she stole the show as a mother who loses her child to gun violence...all those emotions were raw and real and she was not relying on her singing to convey the character's pain...easily best-in-show for me with Nick Cannon (another shocker...who knew he was a fine dramatic actor).
I am saying it now...although it might be for a musical biopic, Jennifer Hudson will be back at the Oscars as an acting nominee. This girl has fire and will for days and I do not doubt this will happen.
I did not care for this movie at all, and 98% of it is because of the script. I've never seen the play, so I can't compare, but the script was so disjointed, lurching from one scene to another without any cohesion. It often felt like scenes were picked at random to illustrate certain moments instead of trying to tell a story filled with nuances and different meanings.
It reminded me of "Carousel", the soundtrack of which I believe is the best Rodgers & Hammerstein ever wrote. I think every single song is perfect (or as close as it can get), but when I finally saw the movie version, I was stunned at how poorly it was written. Instead of telling an engaging and fascinating story, it showed random scenes meant to spotlight songs or plot points, with no attempt to make it flow and build on its strengths. I personally believe that's why "Carousel" is one of the less successful and known adaptations of R & H's work.
The thing about Jennifer Hudson that she proved again in "Hairspray Live" is that she's a great singer capable of an emotional wallop, but she's a weak actress. That said, she hit "And I Am Telling You" out of the park and won an Oscar just for that number. Basically hers is the shortest performance to win an Oscar.
@V you do realize this was just when Beyoncé was breaking out as a solo artist right? She was just singing Irreplaceable, hardly the performer she is now at her peak. I'd like her to do another film, her acting seems to have improved greatly in Lemonade.
the world's first feature length montage
it amazes me how j hud can find the truth in a song but is so tone deaf to dialogue
the best supporting actress of 2006 was emily blunt in the devil wears prada
I always thought Anika Noni Rose was the most impressive supporting actress in this film.
Will never forgive Eddie Murphy's Oscar loss, and still frustrated that JHud is an Oscar winner. Amazing number, solid performance, but not an actress by any means.
I thought Beyonce was serviceable in this movie, she looks great, but is very self-aware and calculated. However, I think that's been Beyonce's struggle as an overall artist her entire career. She's finally at a point where she doesn't seem to be so in her head, she's doing the most interesting work she's ever done, so I'd be interested to see her tackle another role now. That's why I was interested to see her in A Star is Born.
Jennifer Hudson's win was one of those really embarassing oscar mistakes that look terrible as soon as the name is read. There is really no excuse. That category was weak that year but any of the other 4 was a less embarassing choice. I remember Cate Blanchett on the red carpet being asked if she was going to win and she said "No it's Jennifer's year" and I wonder if that wasn't some of the expert shade throwing she has later exhibited with great skill.
Well, of course, Blanchett should have won, despite the category fraud. But this isn't about her. ;-)
The main thing we can take from this chat is that it's so easy to rip apart an Oscar winner. We can look back and pick it apart. But you cannot defy those moments Ms Hudson delivered. They will remain. BTW, anyone's arguing for Cate that year wants Category Fraud. Ok. Shut the f up about Alicia.
I'm still surprised that people are holding on to the narrative that Blanchett was anything but miscast in the role. It's not a complete misfire, but there was too much that I didn't buy about her "Sheba."
At any rate, I've seen enough bad-to-adequate performances -- especially those touted as great from the gate -- wind up with Oscar wins to be unphased by Hudson's. Say what you want about her non-musical scenes, but when she's singing she knows exactly who 'Effie" is, what she wants, and how to go about getting it.
For Dreamgirls - I'd really would've preferred that Eddie Murphy received a Supporting award over JHudson. I scratch my head trying to remember what Alan Arkin did in Little Miss Sunshine.
With Hudson - I never saw the original stage production, but I somewhat feel that the producers desperately tried to keep JHolliday out of sight for any comparisons. From the majority of responses that are displeased with her winning - guess that's the result of 'inclusion.' I wish JHudson was somewhat, heavier in the film, to get me to care about her character. She just didn't give me that Flo Ballard heartache vibe.
Beyonce - I love the original stage soundtrack. For this film - I hate the fact that the song 'Press Conference' never made it into the film. Guess this was probably demanded from Beyonce's camp to portray her as the innocent waif tiptoeing into a solo career - not the ambitious, kick-the-other-two from Destiny Child's to the curb 'cause I'm a superstar - which was emerging offscreen. Probably didn't want to confuse the public that she was Diana Ross vicious by kicking Ballard to the curb. She was just too 'sweet, little doe-eyed' singer in the film, when you knew that she was heading for superstardom offscreen.
I was somewhat surprised that this didn't receive a Best Picture nod at the time. Guess it left everyone feeling hollow...
TOM - I think you nailed some of the issues that made the film version not work. In making it a vehicle for Beyonce, they had to change the character of Deena Jones. While on stage her character is not a bad character, she clearly has ambition and enjoys becoming the face of the Dreams. In the movie, they took that away to keep the Deena character innocent and make her the hero at the end. And Effie White (who is the LEAD character) was portrayed as mostly miserable as a member of the Dreams (I don't know if that was the director's request or Hudson's inexperience and inability to give a more layered performance) so when she is asked to leave it seems reasonable. The stage version (which I was fortunate to see once with Jennifer Holliday and twice with another amazing performer named Sharon Brown) doesn't rely solely on Curtis (the Jamie Foxx character) to be the villain. There is more nuance in the stage version about ambition and racism that was lost in the translation to screen.
Hudson's Oscar win can sometimes be maligned, so I think it's interesting that, in my opinion, she stole "Hairspray Live!" last week from everybody else and reminded us that she's still really good at this musical theater thing. I saw "Dreamgirls" in the theater and people literally stood up in ovation to clap after "And I Am Telling You".
It's a good film, but "Chicago" (of a similar era) is by far more re-watchable.
Sorry, Paul, that wasn't aimed at you! Xox
LOL SO
In early Jan 2007, I did a memorable Saturday triple feature of this movie sandwiched between Pan's Labyrinth and Babel and I walked out at the end of the day barely remembering ANYTHING from Dreamgirls, having been *far* more taken with the other two.
I recall Anika Noni Rose giving the only fully realized performance and being bummed the other actors weren't up to her stage-veteran standards. Also, a bunch of the songs were back-to-back (a musical pet peeve) and that totally killing the momentum. And yes, there was mid-movie applause for JHud after the big number--- which was nuts to me as an OBC fan because Jennifer Holliday, she was never even close.