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!