Devoid of a truly engaging story, this glitter filled showbiz epic fails to achieve the same kind of witty, intelligent song to dialogue transitions that its inspiration, Rob Marshall's Chicago did so invitingly. Advertised as a dry drama about the music industry, Dreamgirls launches into long, tedious songs that not only lack any kind of re-playability, but can't hold a candle to instant Motown classics they aspire to be like.Dreamgirls takes the rags to riches story, removes the focus away from the characters, and spends too much time with the overplayed, loud and often obnoxious at times singing. Much of the character development happens off-screen including almost all of the love scenes, leaving us with merely the aftermath of each situation and completely neglecting the build-up. Director Bill Condon has managed to breathe life into a shallow story about a group, basically The Supremes, where the characters transitions into song are clunky and uninvited, leaving a bad after-taste.
The film illustrates the interior workings of the music industry with scenes that are hackneyed and drained of life, and in the end, fails to gratify in any department. Dreamgirls proposes that the only way for the African American community to break into an industry is by selling out their roots, and modifying or morphing into what the white man wants to see or hear. Throughout the entirety of the film, the characters sell out their funky soul roots, for a mellower and easier listening routine, appeasing the white record producers and listeners. There was no point in the film where the characters were being creative for the sake of art, instead they were creating for monetary gratification.
The cast not to blame, all of them bringing together some of the best talent in Hollywood. Eddie Murphy finally gets a chance to shine beyond his comedic blunders of the late 90's and does it like a crystal. There are many characters in Dreamgirls that are overly neglected, only to be brought in and out of the film for dramatic effect. In the case of the main group, one member replaces another, which leads to a series of revelations. The drama and character development take a backseat to the singing, dancing and dazzling costume design. Unfortunately this makes Dreamgirls just that, a disengaging spectacle that is given a smidgen of credibility by its cast. By the 50 minute mark, there should be many people questioning this movie's intentions, and wondering whether an early exit would be appropriate.
The film illustrates the interior workings of the music industry with scenes that are hackneyed and drained of life, and in the end, fails to gratify in any department. Dreamgirls proposes that the only way for the African American community to break into an industry is by selling out their roots, and modifying or morphing into what the white man wants to see or hear. Throughout the entirety of the film, the characters sell out their funky soul roots, for a mellower and easier listening routine, appeasing the white record producers and listeners. There was no point in the film where the characters were being creative for the sake of art, instead they were creating for monetary gratification.
The cast not to blame, all of them bringing together some of the best talent in Hollywood. Eddie Murphy finally gets a chance to shine beyond his comedic blunders of the late 90's and does it like a crystal. There are many characters in Dreamgirls that are overly neglected, only to be brought in and out of the film for dramatic effect. In the case of the main group, one member replaces another, which leads to a series of revelations. The drama and character development take a backseat to the singing, dancing and dazzling costume design. Unfortunately this makes Dreamgirls just that, a disengaging spectacle that is given a smidgen of credibility by its cast. By the 50 minute mark, there should be many people questioning this movie's intentions, and wondering whether an early exit would be appropriate.