The story of the life and career of the legendary rhythm and blues musician Ray Charles, from his humble beginnings in the South, where he went blind at age seven, to his meteoric rise to stardom during the 1950s and 1960s.
In New York City's Harlem circa 1987, an overweight, abused, illiterate teen who is pregnant with her second child is invited to enroll in an alternative school in hopes that her life can head in a new direction.
A look at the life of Alfred Kinsey, a pioneer in the area of human sexuality research, whose 1948 publication "Sexual Behavior in the Human Male" was one of the first recorded works that saw science address sexual behavior.
A look at tightrope walker Philippe Petit's daring, but illegal, high-wire routine performed between New York City's World Trade Center's twin towers in 1974, what some consider, "the artistic crime of the century."
Jean François Heckel,
Detroit, the early 1960s. Curtis Taylor, Jr., a car salesman, breaks into the music business with big dreams. He signs a trio of young women, the Dreamettes, gets them a job backing an R&B performer, James "Thunder" Early, establishes his own record label and starts wheeling and dealing. When Early flames out, Curtis makes the Dreamettes into headliners as the Dreams, but not before demoting their hefty big-voiced lead singer, Effie White, and putting the softer-voiced looker, Deena Jones, in front. Soon after, he fires Effie, sends her into a life of proud poverty, and takes Deena and the Dreams to the top. How long can Curtis stay there, and will Effie ever get her due? Written by
The story for both the film and the original Broadway musical, is based heavily on the real life occurrences of the Motown recording group, The Supremes. (Later known as, "Diana Ross & The Supremes") Curtis Taylor Jr. represents Motown Founder Berry Gordy Jr. Both men worked in the automotive industry before focusing on music and implemented aspects of the automotive business into the music making process. They were also romantically involved with the lead singer of the most successful female group on their label (whom they themselves appointed, over the initial "powerhouse" voice of the group.) Also Effie's departure from the group and the reasons why, are for the most part true of the founding Supremes member Florence Ballard, who was known to have a much more powerful voice than Diana Ross. See more »
During the "Steppin' to the Bad Side" montage, the Chicago NBC Tower, first opened in 1989, is seen sometime in the 1960s. See more »
[at the end of her TV "documentary" she sings]
... I'm somebody, and nobody's gonna hold me down... I'm somebody!
See more »
The original 1981 "Playbill" cover for the Broadway version of "Dreamgirls" is displayed during the end credits just before the names of the show's Broadway creators are featured. See more »
Screened overnite in Australia for critics and industry.
Ten minutes into director Bill Condon's adaptation of the hit musical, I whispered to my friend "There's no way the film can go at this pace for two hours!" Because up to that point, we had been utterly dazzled by breathtaking staging, impassioned performances and a display of film-making craftsmanship in all its forms (direction, editing, design) that had the packed audience stunned.
Well, two hours later, I'd been proved wrong. Condon has created a vivid, emotional spectacle that will dominate the 06/07 Oscar nominations. Dreamgirls is one of the five best movie musicals ever made.
There is really nothing new about the storyline - smalltown singers make it big and ride the roller-coaster of fame. But thats what works so well for the film - the great cinematic clichés are embraced and played to the hilt by a creative team, both behind and in front of the camera, that knows what makes a great Hollywood musical.
There's not one weak link in the cast. Condon's camera is in love with Beyonce Knowles and she handles the journey from the innocence of the groups early years to the staggering success and fortune of the group at its peak with surprising range. While most singer/actress attempts are failures (Madonna, Whitney, Britney, k.d. lang), Beyonce proves to have genuine talent.
Jamie Foxx centres and grounds the film in a less-flashy role but one that is crucial to the films credibility.
But there are two standouts. Eddie Murphy as fading star Early has never done better work. And Jennifer Hudson delivers an absolute tour-de-force performance in a role that sees her dominate every scene she is in. Her belting solo number was applauded by the audience (a rare enough occurrence during an industry screening but a moment that was repeated a few times thru the film). Hudson is a lock for the supporting actress Oscar, even this far from the ceremony.
Dreamgirls is a better movie in every way than recent award winning musicals Chicago and Moulin Rouge (both of which I am a huge fan). It is a film that tells a classic rags-to-riches story utilising great cinematic technique and bravado. 2006 has offered up some great movie-going experiences for me (Thank You For Smoking, Children Of Men, V For Vendetta, Little Miss Sunshine); for the sheer cinematic thrill it provides, however, Dreamgirls proves to be the best two hours I've spent in a cinema this year.
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