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Moriarty Sings Along With DREAMGIRLS!!
SPOILER ALERT !!
Wednesday night in LA, Dreamworks/Paramount finally showed the press DREAMGIRLS, which has become one of the most-discussed films of the last few months precisely because no one had seen it yet.
I don’t really play the Oscar game. I don’t write about the Oscars in the weeks and months leading up to them, and I find the insane overdiscussion of them to be wearying. It ruins the joy of watching films for me when they come with too much awards-season baggage, and I think people turn into handicappers instead of critics when they focus too much on the Oscar. Having said that, if you are curious about the film’s Oscar prospects, there’s an astute analysis of its chances up at Movie City News already.
DREAMGIRLS is one of the most confident and precise pictures of the year, a classic movie musical that will connect with audiences across the board. This is a joyous movie at times, and when it takes a turn in its second half and things get darker, it remains palatable because of how powerfully told each step of the emotional journey is. This is impeccably crafted, but more than that... it’s deeply felt. This is not a slick soulless Hollywood version of a Broadway show. This doesn’t feel calculated; it feels dreamed.
The film starts with quick glimpses of color in the dark, fringe on blue dresses, long legs and tall shoes. Then a blast of music, and four girls take the stage, belting out an R&B song. It’s a small theater, packed, a black crowd in their early-1960’s-Detroit finest. The film’s jittery, just like all the characters we meet backstage. Curtis Taylor Jr. (Jamie Foxx) is like a shark, trolling the waters, a hustler looking for his marks. When he sees Deena Jones (Beyonce Knowles), Effie White (Jennifer Hudson), and Lorrell Robinson (Anika Noni Rose), he goes into overdrive. Everyone’s nerves keep jangling all the way through the first performance by the Dreamettes, and when they don’t win the talent show, it’s tough for them to deal with. With Effie’s brother Cece (Keith Robinson), they’ve been working on their act, and they’re sick of losing out. Curtis kicks into high, putting together a chance for them, their big break.
Effie almost doesn’t take it, though. See, she doesn’t sing back-up, and the gig that Curtis gets for them is singing back-up to an established act. All of this is handled quickly, and by about ten minutes in, we meet that established act, that big star who’s going to give these girls a break. We meet James “Thunder” Early, a sort of James Brown/Otis Redding hybrid, and from the moment Eddie Murphy appeared onscreen, something crazy happened to me.
See, I think my generation had two movie stars that absolutely belonged to us. Harrison Ford and Eddie Murphy. Ever since Harrison Ford’s tragic death in the early ‘90s, we’ve been left to wonder what would have happened if he had been able to keep making movies. Eddie Murphy has spent most of the past fifteen years or so making occasional comedy gems (BOWFINGER) and a lot of family films that may well be sweet and silly, but that hold no interest for me (DADDY DAY CARE). It’s felt like we lost those two movie stars completely, and that’s been disheartening. Playing James “Thunder” Early, though, Eddie Murphy comes roaring back to life with a fire that I didn’t believe him capable of at this point. Or maybe I believed he was capable of it, but I just never thought we’d see him working at full capacity again. Jimmy meets the girls and then teaches them their first song, and the way the sequence is cut, it starts as a backstage rehearsal, then turns into a full-blown concert in the span of one swooping camera move, and watching Eddie go from his backstage persona to his onstage dynamo in a single move says almost everything you need to know about Eddie Murphy as a performer. This movie finally gives us a peek into those carefully guarded eyes of his, and it’s a performance of depth and weight.
The first half of the film is effervescent, all about the climb to success and the compromises along the way. By now, showbiz biography is one of those genres where we know all the beats by heart, so it’s all about how you tell it. Condon’s visual style has changed dramatically here from what we saw on GODS & MONSTERS and KINSEY. There’s a kinetic quality to it that neither of those films demanded, and he’s created a very lush world for all of this to unfold within. His recreation of a period Detroit is grounded in reality, but Condon knows that musicals don’t take place in the “real” world, and there’s just that little bit of candy coating to everything.
It’s impossible to say who the lead in the film is. The focus of the film shifts enough times that I wouldn’t really say anyone is the “star” of the movie. At first, it looks like Effie is the lead, and Jennifer Hudson proves to be up to the demands of the role. Effie’s a diva, but it’s just an act. When she thinks no one is looking, there’s an insecure streak in her a mile wide, and much of her bluster is to cover her own fears. She knows she’s the best singer of the trio, but when Curtis finally agrees to put them on as a headlining act, he insists on pushing Deena to the front of the group as lead singer, something that almost breaks Effie. She’s the one who constantly compromises until she finally loses everything. When Hudson performs Effie’s signature song, “And I Am Telling You I Am Not Going,” it’s electric not because it’s the show’s most recognizable number, but because it’s such a raw primal emotional moment. That’s what musicals do that no other film really can... they allow characters to give voice to all those things that would otherwise go unsaid. You can do things in a song you could never do in conventional dialogue, or even in a voice-over. You can have a character lay their heart bare completely. It actually happens again later, but with Deena finally finding her voice and singing the amazing “Listen”. At that point, you’d swear it was Deena’s movie, and you wouldn’t be wrong. In the final moments, though, with every character brought back for one final scene, you realize that the film is about all of them, this community of performers, and the way show business plays hell with the lives of those who give themselves to it. It may not be a brand-new theme, but Condon makes it feel urgent and important here, and that is part of what makes this so impressive.
The film’s music is obvious a key piece of whether or not it works, and I suppose how much you like the film will hinge in part on how well Henry Krieger’s score moves you. I think it’s a witty nod to the history of Motown, but the songs are really solid on their own. There’s another new track written for the film that is a knockout, called “Patience.” It’s a track that’s recorded by Jimmy Early later in his career, during his Marvin Gaye phase, and it sounds like it would be perfectly at home on “What’s Goin’ On?”. I think a few of the tracks work better as sonic exposition than they do as songs, but there are plenty of stand-alone hits here, and the audience last night burst into applause after at least five or six of the numbers.
The tech credits on this are outstanding across the board. Cinematography, production design, editing... everyone’s brought their A-game, and the result is every bit as polished as you’d expect. Ultimately, though, what makes this film a better-than-average example of its genre is the pure love of the musical form that shows through in every choice made by writer/director Bill Condon. He feels about this genre the way Tarantino feels about trashy exploitation and kung-fu, and it shows.
He’s pushed his cast to career best places in some cases, and he’s given Beyonce a real film career after this if she wants it. She shows sides of herself as a performer that were impossible to imagine based on GOLDMEMBER or THE PINK PANTHER, and it’s caused to reassess her completely. There are moments where she seems to be channeling young Diana Ross completely, and there’s a wall-sized photo hanging in Curtis’s office at once point that I thought was Ross at first glance. But it’s not an imitation... it’s a fully-rendered recreation, and Ross should be profoundly flattered by what Beyonce’s done here. As Jimmy Early finds himself marginalized, he numbs the pain with drugs, and there’s a wordless moment here where Eddie just levels everyone in the room who wants him to stop where he’s doing, and it’s all accomplished with a single look. His final performance number has a bitter edge to it, and again... I can’t help feeling like Eddie is exorcising feelings about his own career with this character. By making this film, though, and by giving this kind of amazing performance in it, Eddie’s already avoided the trap that caught Jimmy Early and so many other performers. This is a redefinition of who he is as an entertainer, and I pray that it does well for him so that we see more of this kind of work from him in the future. I don’t mind a NORBIT as long as he mixes it up and allows more directors to use him as well as Condon did. If for nothing else, I adore this film for giving Murphy back to me.
Like I said... I don’t do the Oscar thing, and I rarely even mention the awards at all, but in this one case, I’ll make an exception by signing off with my new mantra, the one I’ll be invoking over and over between now and February: Give Eddie The Oscar.
Drew McWeeny, Los Angeles
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i dunno...is anybody REALLY feeling it for this movie?
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that occula is first? not me.
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When I first heard about this movie, I feared it may turn out to be another overrated biopic like Ray. I liked Ray but I never believed the hype. This movie sounds like it's going to be a most excellent piece of cinema. Not very often does an actor get a 'Second chance' to revive how great they once were, Eddie surely gives us signs now and then in movies like Bowfinger but hasn't been in top form in ages. It's great to see he's actually acting here and not hamming it up. I'm going to really look forward to this film for sure.
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Yeah I can see myself watching this. I'm not a fan of musicals. The only exception has been Chicago so far (which took me by surprise--loved it!) and I think this one looks like it'll be a good one.
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I want to talk to you Eddie! What have you done for me Lately Eddie? HALF!
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Great review. Heard a ton great stuff about this production when they were shooting over at the L.A. Center Studios and now, I am happy to see that is wasn't the typical Hollywood bullshit. Eddie Murphy needed a serious career rejuvenation and I am happy to hear Condon has done it. Really!? Oscar for Eddie? If that happens, I hope he stays away from the Steve Carr & the Brian Robbins of the world and continues to work with credible filmmakers.
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Um...that's pretty much all I have to say at this point. I'm not going to shell out $25 to see this at the Ziegfield, but once it's in regular theaters I'm THERE. I hope people understand once and for all that there are no crappy genres- only crappy filmmakers. And Condon definitely doesn't qualify.
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Okay, I haven't seen the movie yet but Hudson is an amazing singer and if she is even half as good as an actor, then this should be something special indeed. AND I'M TELLING YOU I'M NOT GOING...
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when i say A) that this movie will be good and B) that it will be a big oscar contender (i do play the game, even if i think they're retarded half the time). my friends are idiots. nice review mori.
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Nov 16, 2006 6:26:42 PM CST
You know how i know im gay? Im looking forward to this.
by sydbarretsmydad
and i HATE musicals.
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Very nice.
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And Eddie's right behind it. Did you ever think you'd see the day when Eddie Murphy won an oscar?
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maybe the best musical since the "South Park" movie
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This movie will suck. It will be boring to anyone except those wanting to see cheezy musicals. And even to them it will suck. No way, not for me thanks. Beyonce...your booty is huge.
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how come we all act so surprised when comedians show some "serious" acting chops? any actor will tell you - making you cry is not all that tough, but making you laugh takes real talent. i hope that, on seeing this, i agree with Mori & can say: Give Eddie the Oscar!
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Over Eddie Murphy's last 15 any day of the damn week. True, they're both shadows of their former greatness, but at least I've gotten some throwaway enjoyment out of a lot of Ford's stuff. Murphy, yeah, not so much.
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If that fat bastard Lucas will get out of the fucking way so we can continue on with Indy IV. Then again, if Lucas is involved, who knows. Maybe Indy will have to stop those Nazis from trade disputes with the Swiss.
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is that it was so fucking awful that he has been forced into indy4 to save his career. i know he hates it but seriously he knows hes got nothing left. i mean when ur last movie u headline was firewall and it made 7 mil opening weekend, u might need to reexamine your options. he does look terrible tho, i almost feel bad for him but its been 10 years since hes carried a movie (air force 1, which was just average imo)
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If he gets a resurgence from this, I doubt it will be long...
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Now come on over hear and let me fuck you up the ass!"...I miss funny, homophobic Eddie. Hammana hammana hammana hammana! "I'm GI Joe a-swimmin under watah...Bloop-Bloop....GI Joe want to find out from where the bubbles came...and GI Joe got stuck, GI Joe got stuck....and then a big brown shark came..." "So there I am layin' on the bathroom floor, piece of shit floating in the tub, blood gushin' out my eye, and GI Joe up my ass".
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Youre a douce bag.
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Harrison Ford was this generations John Wayne and he squandered it like there was no tomorrow ... and as a result, there was no tomorrow for Ford. Harrison Ford should have taken the role in TRAFFIC. He should have done a lot of things. A great western in the tradition of John Wayne would have been my dream for Ford. He gave such a great example of what he could do in The Frisco Kid (even if it was a comedy). Still hoping he does one before he's way way too old. A little grecian formula grey would be just the ticket.
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Traffic. What a great role that would have been for him.
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considering his choice of who to give late night lifts to.
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Damn cold fingers.
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and trying to prove it with every cinemax quality action film he strains to shit out. He also turned down the role of Captain Hamill in Saving Private Ryan, in which the role went to Danson.
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Danson's small roll in Saving Private Ryan would have been a sweet little cameo for Ford. The man doesn't have to headline every damn movie he's in.
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I think he's a bit more enlightened these days, Willy.
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I hope Eddie sings his James Brown hot tub song. Seems it would fit well.
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You know it's true
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Find out if someone is making a movie out of the book "Company" by Max Barry. If so, demand the role of Daniel Klausman. Yes, it's a small part in a small movie, and no, you can't have $20 million. Just try it.
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in They Called Him Machette
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Seriously though, I DO NOT LIKE MUSICALS. All that singing at damn near every turn just bores me to tears. Truth be told i wasn't going to see, and I may end up not even though i said i'd go, and my girlfriend is screaming at me and calling me an uncle tom because she has in her mind that I don't support black films or films with large black casts. That isn't the case but when Hollywood actually churns out a decent black film that it isn't sterotypical then i'll be there, but right now most of these films are same story over and over. While Dreamgirls is the typical positive portrayl of black people in the movie industry it's still the same old story. Now I've heard good things about the film, so i may check it out.
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I love Ford, but as someone pointed out the man is trying to still do roles for his younger self. I was thinking while watching Ford's last film "Firewall" that the man is in his 60's and have chldren that should be his grandchildren.
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Saw it on 12/16 at the Cinerama Dome. It was quite possibly the most soulful experience I've ever had at the movies. Forget Eddie...give Jennifer Hudson the Oscar RIGHT NOW!
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Finally saw it yesterday! This movie was just awesome!! Of course I read the reviews on this flick and had to see it, but with all my anticipation, this STILL was a great movie! Almost everyone who acted in this movie shines and did strong oscar worthy performances. I gotta admit, I didn't expect this movie to be a musical, so that took some time to get used to, but nevertheless, I was floored. Jennifer Hudson should recieve an oscar for this, if Eddie isn't nominated, the Academy sucks! I also was a little aprehensive because this movie had almost an all black cast, yet it never felt like a "black" movie, but an all around great movie that crossed all racial barriers. I remember seeing it in a Suburban theater and I was one of the few folks of color in the film and was shocked to everyone singing the film. I had a discussion with this older couple who told me it was the second time they saw it and they said it was the best movie they saw in the last 2 years. That to me is the accomplishment of the film. The movie captured the rise of that genre of music that has influenced everything from contemporary R&B, rap, and even pop music. I'll admit that I haven't seen many movies this year, but this movie had me so emotionally invested in it. You felt for Effe. You temporary hated Beyonce's character (though I don't think she should have been nominated for the Golden Globe) and then understood her pain of being the star. Eddie Murphy's character was also one you had to observe and be drawn to. You HATED Jamie Foxx's chatacter, and that's the briliance with him to go from Ray to Curtis seamlessly. When Hudson sand "I'm not going nowhere" you felt your skin crawl because of the intensity of the song, and her emotion and passion just singing it out. This was an almost flawless movie! I know it won't get best picture, but the cast may be the best ensemble for any film this year.
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man what a disappointment this movie was--overhyped to say the least. Given, I've never seen the musical--or heard the soundtrack prior (but I do know the story of Motown and Barrie Gordy). But, to me-- as a film on its own merits, it's really sort of lost (and horribly long). The dialogue is terrible--and often awkward in a lot of places--same as a good portion of the songs (IMHO, i know a lot of the songs are suppose to sound "white" as that was what they were trying to do--but even the Supreme's real songs had more soul than these). From the pre-movie hype, I thought Jaime Fox & Beyonce were the main focus in the movie--but both characters were thinly written (to say the least). Though Jennifer Hudson as the main character "Effie" was easily the best part of the film. The "Oscar buzz" surrounding this movie is laughable at best--or just good marketing. I hope at least Jennifer Hudson gets more work after it--she's the main good thing about it (Eddie Murphy was pretty good too). Wait for DVD, unless you loved the musical, Dreamgirls is (paola) overhype at its worst.
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