I went to see this movie as part of my annual vow to see as many of the Oscar nominations as possible, and this, more than any previous hiccups, reminded me of just how misguided that vow can be.
Before I begin my rant about everything that's wrong with it, let's just say that I think the Oscar nomination committee scored an absolute bloody home run with this one. Jennifer Hudson and Eddie Murphy are clear standouts here, the former in particular delivering an extremely gutsy performance, and I think she will win - not only because she's very good but also because Oscars so frequently seem to go to actresses who deliver one great performance but are destined never to do anything worthwhile again (That is, of course, an appalling generalisation but I can list quite a few examples from the past). Also, the music is great although I have a couple of misgivings which I will go into later.
But the Best Picture "snub" which is gathering so much publicity was an absolute triumph of seeing through the bull and it's been a long time since I've been so satisfied with such a decision. In essence, Dreamgirls is nothing except a cheap excuse to throw together a sequence of impressive musical numbers with a connecting storyline which is little more than a bunch of glib, trashy soap opera episodes.
But what makes Dreamgirls such a terrible cancer on the bowel of the musical genre is that, unlike other recent films like it (I'm comparing it particularly here with Chicago, Ray, and Walk the Line) it never seems to be going anywhere. Chicago, you've got a murder trial to look forward to; Ray and Walk the Line you've got the guilt of a childhood tragedy and a powerful addiction to overcome. Dreamgirls, by stark comparison, features a mess of characters, none of whom are dealt with in depth, and a similar mess of conflicts, while never making it clear exactly where the conflicts lie, who they're between or exactly why the audience is supposed to care whether they go one way or the other.
The film's biggest weakness is hence its narrative. By the end of the narrative, the conflicts and characters converge, but for the middle hour and a half I felt like it was stumbling blindly from one song to the next, never sure of what it's doing. The fact that it all makes sense and there is resolution at the end does not excuse the clumsy route it takes to get there. Basically, we have a beginning, and we have an ending, while the intervening two hours are just a blur out the window as we speed by (while listening to some great soul music through the car stereo, as it were).
Its other major weakness is that, as hard as it tries, the film can't justify its own mishmash style. Firstly, it thinks it is a story about a rise to stardom and the bumpy road along the way. Therefore, it mingles the action of the film with interspersed live performances of songs that have a particularly relevance to that particular chapter of the performer's life. However, given that the songs featured here don't actually exist outside the film, any poignancy seems a bit ambitious when you compare it with far more successful moments in Walk the Line: the performances of "Ring of Fire" and "Walk the Line" spring to mind. Secondly, Dreamgirls thinks it is a musical and therefore, episodic dialogue can be sung, rather than spoken. I can't speak for anybody else watching the film but the scenes where this happened seemed actually very silly to me. Firstly, given that for the majority of the film, the action is spoken while the songs are performances both within and without this fictional world, it frankly seems unnecessary, particularly given their attempt to use the technique I just mentioned of 'fitting' a song to the narrative. Secondly, unlike the great old musicals of the fifties and sixties, by the time one of these scenes appears, the film has become far too grounded in reality for any suspension of disbelief to occur. Thus it is left wanting one of the crucial elements that made the old musicals work, while the other crucial element - namely, spectacular choreography - is also absent, unless you consider six people walking in time to music around a stage spectacular. It essentially tries to blend the biographical style of Ray and Walk the Line with the twee style of - say - Singin' in the Rain. Ambitious though it is, it certainly doesn't work. It's either realism in musical form or its 'a musical', it shouldn't be both and I think this is a good example of how a film also "can't" be both.
Therefore, having outlined Dreamgirls' major shortcomings, I could almost forgive it, except for one final problem, and that is, it is BORING. At the risk of colouring the rest of my review, I am compelled to say that I haven't been so tempted to walk out on a movie since I was stupid enough to see Scooby-Doo back in 2002. As I've said, the songs are good but they're only good aurally: there's nothing to entertain the eye and certainly nothing to entertain the mind while they're happening. As I've said, this film is nothing more than an excuse to put these songs on the screen. Fortunately, Eddie Murphy and Jennifer Hudson were able to find the opportunity to act herein and save it from being an atrocious waste of effort.
In summary, all I can say is, buy the soundtrack if you're that interested. The extra money is worth the tedium you'll save yourself.
3/10
Before I begin my rant about everything that's wrong with it, let's just say that I think the Oscar nomination committee scored an absolute bloody home run with this one. Jennifer Hudson and Eddie Murphy are clear standouts here, the former in particular delivering an extremely gutsy performance, and I think she will win - not only because she's very good but also because Oscars so frequently seem to go to actresses who deliver one great performance but are destined never to do anything worthwhile again (That is, of course, an appalling generalisation but I can list quite a few examples from the past). Also, the music is great although I have a couple of misgivings which I will go into later.
But the Best Picture "snub" which is gathering so much publicity was an absolute triumph of seeing through the bull and it's been a long time since I've been so satisfied with such a decision. In essence, Dreamgirls is nothing except a cheap excuse to throw together a sequence of impressive musical numbers with a connecting storyline which is little more than a bunch of glib, trashy soap opera episodes.
But what makes Dreamgirls such a terrible cancer on the bowel of the musical genre is that, unlike other recent films like it (I'm comparing it particularly here with Chicago, Ray, and Walk the Line) it never seems to be going anywhere. Chicago, you've got a murder trial to look forward to; Ray and Walk the Line you've got the guilt of a childhood tragedy and a powerful addiction to overcome. Dreamgirls, by stark comparison, features a mess of characters, none of whom are dealt with in depth, and a similar mess of conflicts, while never making it clear exactly where the conflicts lie, who they're between or exactly why the audience is supposed to care whether they go one way or the other.
The film's biggest weakness is hence its narrative. By the end of the narrative, the conflicts and characters converge, but for the middle hour and a half I felt like it was stumbling blindly from one song to the next, never sure of what it's doing. The fact that it all makes sense and there is resolution at the end does not excuse the clumsy route it takes to get there. Basically, we have a beginning, and we have an ending, while the intervening two hours are just a blur out the window as we speed by (while listening to some great soul music through the car stereo, as it were).
Its other major weakness is that, as hard as it tries, the film can't justify its own mishmash style. Firstly, it thinks it is a story about a rise to stardom and the bumpy road along the way. Therefore, it mingles the action of the film with interspersed live performances of songs that have a particularly relevance to that particular chapter of the performer's life. However, given that the songs featured here don't actually exist outside the film, any poignancy seems a bit ambitious when you compare it with far more successful moments in Walk the Line: the performances of "Ring of Fire" and "Walk the Line" spring to mind. Secondly, Dreamgirls thinks it is a musical and therefore, episodic dialogue can be sung, rather than spoken. I can't speak for anybody else watching the film but the scenes where this happened seemed actually very silly to me. Firstly, given that for the majority of the film, the action is spoken while the songs are performances both within and without this fictional world, it frankly seems unnecessary, particularly given their attempt to use the technique I just mentioned of 'fitting' a song to the narrative. Secondly, unlike the great old musicals of the fifties and sixties, by the time one of these scenes appears, the film has become far too grounded in reality for any suspension of disbelief to occur. Thus it is left wanting one of the crucial elements that made the old musicals work, while the other crucial element - namely, spectacular choreography - is also absent, unless you consider six people walking in time to music around a stage spectacular. It essentially tries to blend the biographical style of Ray and Walk the Line with the twee style of - say - Singin' in the Rain. Ambitious though it is, it certainly doesn't work. It's either realism in musical form or its 'a musical', it shouldn't be both and I think this is a good example of how a film also "can't" be both.
Therefore, having outlined Dreamgirls' major shortcomings, I could almost forgive it, except for one final problem, and that is, it is BORING. At the risk of colouring the rest of my review, I am compelled to say that I haven't been so tempted to walk out on a movie since I was stupid enough to see Scooby-Doo back in 2002. As I've said, the songs are good but they're only good aurally: there's nothing to entertain the eye and certainly nothing to entertain the mind while they're happening. As I've said, this film is nothing more than an excuse to put these songs on the screen. Fortunately, Eddie Murphy and Jennifer Hudson were able to find the opportunity to act herein and save it from being an atrocious waste of effort.
In summary, all I can say is, buy the soundtrack if you're that interested. The extra money is worth the tedium you'll save yourself.
3/10