The Space I Occupy: Dreamgirls Advance Review

A drumbeat begins, a bass line joins in and flashbulbs pop and blaze amid the twirling camera-work and frantic editing. With these images, sharing the frenzied opening with the film version of “Chicago”, Bill Condon’s film of “Dreamgirls” gets off to a kinetic start with the musical performance of the fictional Stepp Sisters at a theatre in Detroit. Amongst all of the chaos we’re introduced to Curtis Taylor (Jamie Foxx), Deena Jones (Beyonce Knowles) and the rest of the principal cast in minutes. The rest of this film maintains the fluid nature of Michael Bennett’s original staging, and Condon has adapted the piece to retain the major points of the story (as well as most of the musical numbers) but he also opens up this world and places it within the context of the major historical events that take place around the rise of the (fictional) girl group, The Dreams.

It’s no secret that I’ve loved this musical since the first time I saw it in 1997. It’s got a fairly brilliant score that blends the Motown sound with personal character songs and major diva moments. While the show was more of a sung-through piece, Mr. Condon sets the bulk of the musical numbers in their realistic settings (stage, recording studio, bar) and replaces all the recitative with actual dialogue that befits each character and suits the plot, unlike the film of “Rent,” which just had people speaking lyrics. Then he subtly takes a scene, once we’re involved with these people, and raises the emotional stakes so high that the only thing they can do next is sing instead of speak. It’s not as awkward as it sounds and there is no need for a framing device (like “Chicago”) to place these songs in context. This movie is a true movie musical that harkens back to the days of other dramatic musicals as “Oliver,” “West Side Story” and “Sweet Charity.” There are shades of “Cabaret” where a song will comment on the action and make it a sort of emotional shorthand and that’s welcome, too.

Eddie Murphy has a star- (re)making turn as soul man James “Thunder” Early, both making him human and outrageous simultaneously. This is one dramatic performance to keep your eyes on come Oscar time.

“American Idol” contestant, Jennifer Hudson lives and breathes as Effie White. She conveys Effie’s sense of entitlement brilliantly and, when she breaks down with the signature song “And I Am Telling You,” she takes command and you can’t tear your eyes off her. At the screening I attended, there was a tremendous amount of applause at the end of that number- in a movie theatre, no less!

As the other two Dreams members, Beyonce Knowles and Anika Noni Rose fill the roles respectably, making each person’s growth over the decades quite persuasively.

The one actor who, while still good, wasn’t up to par was (surprisingly) Jamie Foxx’s “sleazy” Curtis Taylor, Jr. It may have been a directorial choice but it seemed like his portrayal wasn’t as fully formed or commanding as the other characters.

With that in mind, this is still an excellent film. Because of its sprawling nature, at times it reminded me of “Boogie Nights” because it takes the rise of the recording stars and places them in the undertow of history and stirs them up. There are minor departures from the stage version, and are actually welcome. There are also some nice homages to the stage production- if you’re aware of the history of the show and its marketing I’m sure you’ll know what I mean.