Dreamgirls- Nostalgic As It Was

Rating: 9/10 (4 January 2007)

Finally saw it, the re-visit to the musical Camelot of which this writer enjoyed two years being a part. From the Martha Reeves character hired out of a crowd of hangers on as a typist outside the recording studio/office doors, to the group recording with musicians, it all rang vaguely familiar.
Other reviewers adequately covered acting of the various principals, direction, and cinematography.
The Effie, strong-voiced character fallen to Medicaid type welfare seemed mildly reminiscent of Florence Ballard, purportedly the stronger singer of the Primette (later the Supremes). But this is fiction, right?
To this writer, kudos to the set directors, and prop masters. Seeing the eggshell and crates on the recording studio walls, well as seeing beloved 45s RPM, with colored sleeves, brought fond recollections. For before the age of the sterile CD, mini-disks, or tapesmanufacturers made records from or cut into shellac. Several Dreamgirls recording sequences were only a few years removed from that period.
Eddie Murphy's character-- some critics say appears loosely based on JB (James Brown) or Jackie Wilson. Yet those in the know (whether at Motown, or Stax, or Cameo Parkway, or Atlantic) would probably find Murphy's self destructive personage (sans the drugs) more like Joe Tex, partly Sam Cooke womanizer, and later Marvin Gaye balladeer.
Seem to recall Marvin actually wishing a new direction (in real life), and promptly moved over to Columbia and popped Let's Get It On, and Sexual Healing, before releasing the landmark "What's Going On." and other music, including Trouble Man film soundtrack.
Also seem to recall Marvin slated to singing soft ballads at the Jule's Podell's (spelling?) Copa in New York when he desired to change up on the show. But the film is fiction, right?
Absolutely loved the Georgie Woods type -- Uptown/Paramount/ Apollo/Regal Theater talent contest-like shows, where the Dreamettes initially lose. Still, the crowds in those venues responded more vigorously. And the movie makers threw away about $100,000.
Appearing on the Chittlin Circuit for several years, this writer never, evah, saw a musical review with as many dancers on the stage (This writer missed the original Cotton Club by a few years). Humble opinion--the chorus lines weren't needed. Murphy could carry the scenes by himself (or with the girls). Yet, understood! It is a musical. Buttttt???).
Excellent depiction shown of records cut in the afternoon and shortly thereafter,(at least the shellac version) moved onto the radio, with the help of some well placed Jacksons, LincolnsBenjamins had yet to become the standard, before the days of the centralized music director (or program director) in some far off town.
The 1950s style tour bus would host card games among the musicians in the front, hanky panky amongst some female and male stars, and fierce competition when the stage became hot with the first act.
Surprisingly, some names were actually not too disguised, but no lawsuit, so maybe legal received adequate clearances (and many of the folks deceased). For example, Curtis (Jamie Foxx) announces Jollie Jenkins coming into the company to do choreography and put together slick act for the Dreams.
Hmmmmmmm shades of Cholly Atkins (legendary Atkins and Cole dance act)But did not see portrayed the legendary musical conductors represented (Gil Askey, Maurice King), unless the Holland Dozieresque featured songwriter combined them, with a hint of Robert Gordy type (who was over Jobete Publishing) and Fuller Gordy type floating around the company. Different writers and different producers did the chores.
Notwithstanding other critics, there were riots in Detroit and tanks in the street, if memory serves, (this writer tried to get out, and couldn't) after the MLK assassination,
Songs and Music:
Where oh where did the prop department find those old one and two track recorders? While many of the songs were nearly mono chromatic, mono-interval syrupy pabulum, a couple stood out as rewrites of the Hitsville smashes this writer enjoyed playing on stage. (Ooppss! Keep forgetting. This film is fiction).
(Still, guitarists Cornelius Grant, Wah Wah Watson, Ray Parker Jr, Bassist Bob Babbitt, Carol Kaye, and a few other West Coast musicians still alive that were actually there, could have really polished up that soundtrack, making it more, well, we understand )
Even had to fight back a-sniff, snifftear or two with Effie's ("Judson's) belting out And I am Telling You" One always thought tune mistress Jennifer Holiday owned it. But Hudson made it her own-- at least her version.
The club scene where several of the musicians hung out showed wistful. There were such in Detroit nightlife, 20 Grand, and I think the other (where everyone went) Chit Chat Club (or Kit Kat).
Dreamgirls proves a nostalgic memory lane excursion for those who have ever ridden the tour bus, been back stage, or taken part of a multi-act stage show where from the first act, the stage was hot. The last scene reminiscent of the Someday We'll Be Together show in Vegas, (sans Florenceshe was gone from the earth).
The soundtrack I will definitely buy. Some of Murphy's tunes (the first one and the Kofi wearing groove) were "locked" Hudson's And I am Telling You, and proposed single (in the movie) superlative. Beyonce's "Listen," well Beyonce!
At the denouement, one cannot help but stand and give props to all concerned at the end of the film.
James Wesly Smith
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