Dreamgirls or: How to Stop Discussing It and Talk - About Something Else
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Big Magilla
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Jennifer Holliday on the Dreamgirls movie; Some of it (the highlighted portions) reeks of sour grapes:
Jennifer Holliday, the original Dreamgirl, who created the breakout role of Effie White twenty five years ago on Broadway, says she’s very disappointed at her lack of involvement in the soon-to-be-released film version of Dreamgirls.
“I’m not going to lie--I did have hopes that I would reprise the role for the screen. What I wasn't prepared for was not to even be asked to do a cameo of some sort,” Holliday tells Inside Edition’s Deborah Norville.
In an exclusive interview, airing Wednesday, November 22nd, Holliday says the filmmakers use her voice for the hit song, And I’m Telling You I’m Not Going, to market the movie.
“For six months they used my voice on the trailer,” Holliday tells Norville, explaining she doesn’t want people to think she’s angry, but admits the resurgence of interest in the Dreamgirls story is extremely bittersweet for her.
“What the public doesn't understand is that I actually created my role. I wasn't a girl-for-hire where someone said, ‘Here’s the script and here's the songs--your job starts tomorrow. I actually created that role,” Holliday says.
She continues, “Everything from the song And I Am Telling You to the end of the second act, I created. Effie was not in the second act at all. I fought for her to be there. I fought for her to come back strong. I fought for her to have more songs.”
Holliday was 21 years-old and an unknown talent when Dreamgirls opened on Broadway and was an immediate hit. She went on to win a Tony Award for Best Actress (Musical) for “Dreamgirls,” and two Grammy Awards. Shortly thereafter, she was dropped by her record company, she says, because she didn’t have the right look.
She tells Norville, “I had ballooned up to 340lbs. I had been dropped from my record company, not because of flagging sales, but because of my weight. The record company said, ‘You have a great voice, but it’s about image.’”
At one point, Holliday says, she was so despondent over her lack of a recording career coupled with her weight gain, that she attempted suicide.
“I took an overdose of sleeping pills and, just to show you how bad my career was, I tried to take my life, and nobody even wrote about it. It was like, ‘Okay, I didn't even get in the paper.’ They didn’t even know who I was,” she says.
Holliday says she’s coming forward now because she feels more optimistic and in control for the first time in years.
“I have suffered with clinical depression so, to some people, I’m a bit of a recluse but I do still sing. It’s just that I’m more comfortable with working and singing than I am just out with people,” she tells Norville.
She continues, “I was only a voice for so many years, not a person. But I do feel, for the first time, that I am a person and that I am more than a voice and somehow I do want to move forward. I’ve chosen life, although it's still quite difficult for me day-to-day, but I do want to live.”
“I want people to know that there is hope. I want people to choose life because I lost a beautiful friend. Phyllis Hyman, who was a beautiful jazz singer, took her life in 1995. Then, in 2000, Susannah McCorkle, a great jazz singer, took her life and I also tried to take mine when I was 30 years old.”
Holliday says she thinks it’s ironic, that the performer who has the role of Effie in the film version, Jennifer Hudson, has the same first name and the same initials as Holliday. But, she says, someone recently told her that her performance on the 1982 Tony Awards, is on a popular video website and she was thrilled.
“I’m glad about YouTube showing my Tony performance because that way the public can see that I did it first and that this is being copied.”
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Big Magilla
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I watched the show, probably the first time I've ever actually watched her show, certainly for the full hour. Oprah praised the direction, without specifically mentioning Condon, but the actors referred to him several times during the course of the show.
One occasion I specifically recall is Jennifer Hudson talking about how she was nervous doing her bed scene with Jamie Foxx first thing in the morning, and saying to him "Bill, can't I at least say good morning, first?"
One occasion I specifically recall is Jennifer Hudson talking about how she was nervous doing her bed scene with Jamie Foxx first thing in the morning, and saying to him "Bill, can't I at least say good morning, first?"
Akash wrote:flipp525 wrote:Such poise and unassuming glamour; she really made a wonderful impression on Oprah today and she looked gorgeous to boot. With an Oprah stamp, her buzz just got a little louder.
Given how much I loved Gods and Monsters and Kinsey (not a big fan of Chicago), I'm very happy that a Bill Condon film is getting this kind of attention. But heavens to mercatroid, I wish Oprah would just stay out of Oscar season completely! She has really become unbearable, acting like her approval makes something award worthy, and she seems to think she has a personal stake in every Oscar year.
Does her ego know no bounds?
Oh, c'mon. It's an all-black cast and the "event" movie of the season. Did you really think Oprah wasn't going to be involved in its promotion? Frankly, it'd be strange if she didn't have them on her show.
No matter how you feel about her, Oprah's touch is gold and if her stamp of approval on the movie means that more people will see it, I'm all for her cheerleading.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Given how much I loved Gods and Monsters and Kinsey (not a big fan of Chicago), I'm very happy that a Bill Condon film is getting this kind of attention. But heavens to mercatroid, I wish Oprah would just stay out of Oscar season completely! She has really become unbearable, acting like her approval makes something award worthy, and she seems to think she has a personal stake in every Oscar year.flipp525 wrote:Such poise and unassuming glamour; she really made a wonderful impression on Oprah today and she looked gorgeous to boot. With an Oprah stamp, her buzz just got a little louder.
Does her ego know no bounds?
Big Magilla wrote:The principal cast (Jamie Foxx, Beyonce, Eddie Murphy and "the American Idol contestant who took Oprah's breath away") are on Oprah today.
Jennifer Hudson was a class act. Such poise and unassuming glamour; she really made a wonderful impression on Oprah today and she looked gorgeous to boot. With an Oprah stamp, her buzz just got a little louder.
Eddie Murphy was very humble during the interview. Kind of a sweetheart. But, wow, he is so gay.
"Listen" is a very inspirational song and Beyonce performed the heck out of it. Would've liked to hear Jennifer Hudson perform as well.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Big Magilla
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David Poland is calling Jennifer Hudson as a shoo-in for Best Supporting Actress...and possibly LEAD. He's calling for a push for Beyoncé Knowles for Supporting. He's even calling a record 16 nominations for the movie and 7 wins.
*Best Picture
Best Director - Bill Condon
*Best Actress - Jennifer Hudson
Best Supporting Actor - Eddie Murphy
Best Supporting Actress - Beyoncé Knowles
Best Adapted Screenplay
*Best Song - "Listen"
Best Song - "Love You I Do"
Best Song - "Patience"
Best Cinematography
*Best Film Editing
*Best Production Design
*Best Costume Design
Best Makeup
*Best Sound Mixing
Best Sound Effects
*Best Picture
Best Director - Bill Condon
*Best Actress - Jennifer Hudson
Best Supporting Actor - Eddie Murphy
Best Supporting Actress - Beyoncé Knowles
Best Adapted Screenplay
*Best Song - "Listen"
Best Song - "Love You I Do"
Best Song - "Patience"
Best Cinematography
*Best Film Editing
*Best Production Design
*Best Costume Design
Best Makeup
*Best Sound Mixing
Best Sound Effects
"How's the despair?"
And gossip blogger Towleroad has this to say:
**WARNING SPOILERS**
Last night I had the opportunity to see one of the first screenings of Dreamgirls, the Bill Condon film adaptation of the Broadway musical, and Condon has pulled off an inspiring and transcendent new classic. The musical production comes alive in its cinematic form so fluidly that at times you almost forget you're not watching a live production. I can't remember the last time I saw an audience provide such physical and vocal responses to onscreen performances. It's a great feeling to come to a film with high expectations and have them exceeded as that's so often not the case.
You might think that with star power like Beyoncé, Jamie Foxx, Eddie Murphy, and Danny Glover that the jockeying for the spotlight would be intense, but there is really no competition here. This is Jennifer Hudson's movie and she is astonishing.
Dreamgirls will make Jennifer Hudson a superstar. Her vocal performances are epic. No less than four times did the audience erupt into spontaneous ovations as she finished her numbers.
The pivotal scene on which the plot of the movie spins, when Effie is told that she's been forced out of the Dreamettes, is delivered in a dazzling musical one-two punch. As the number "It's All Over," a tour-de-force in its deft boxing match-like staging between Curtis Taylor, Jr. (Foxx), Deena Jones (Beyoncé Knowles), Lorrell Robinson (Anika Noni Rose), and Effie (Hudson) winds up we are left with Effie realizing, defiantly, that she's having her dream snatched from her. The movie takes a beautifully-choreographed deep breath before Hudson slides into her solitary and powerful rendition of "And I'm Telling You". This is the moment in the film everyone will be talking about. Hudson's chill-inducing performance made every hair on my scalp stand on end.
As an audience member there's no way to avoid looking at Hudson's performance against Beyoncé's, or to avoid noticing the way in which the show's plot mirrors the offscreen trajectory of these singers. At one point, Taylor points out to Deena Jones that she's being put up as lead singer because her voice is bland and has no character. Effie is the one with the voice, but she's being relegated to the back row because she is the 'ugly duckling'.
And you root for Hudson because of this. She does not have Beyoncé's model looks (which undergo their own stunning metamorphosis during the film) or her figure, and the filmmakers make no attempt to hide Hudson's heft in the film. But the differences only make you root for Effie even more. Hudson owns this film. It is all hers, and it is beautiful to watch, at the same time realizing that Hudson's real-life story (from American Idol contestant to what should and will be an Oscar-nominated star vehicle) bears an uncanny resemblance to the one unfolding before you.
Make no mistake. Beyoncé turns in a rock-solid performance which in a world without Hudson would garner acclaim. "Listen," one of the new and welcome additions to the show's set of stand-out tracks, wakes you up to the fact that there is another great singer in this movie, but in the end it's like holding a candle to Hudson, who has shot into Hollywood like a brilliant comet.
Fortunately for Sharon Leal and Anika Noni Rose (the other two members of the Dreams), the strength of the other singers offers them some deserved coattails to ride into the public's awareness, but they're essentially bit players here. Jamie Foxx gives a polished performance as the show's villain, but the return of Eddie Murphy makes it difficult for him to get in the spotlight. Murphy is as entertaining as ever as James 'Thunder' Early, the womanizing soul singer who offers the Dreamettes their first opportunity. Keith Robinson, as Effie's brother CC White, delivers a standout performance as well.
The wardrobe and sets in Dreamgirls bring back the slick, glistening environments of the late 60's and early 70's, and in the production is an obvious love for the glitz and excitement of live performance. This is not Evita whose characters were given little or no chance to breathe between numbers. And it is more three-dimensional and ebullient than Chicago. Dreamgirls is on its way to the Oscars.
**WARNING SPOILERS**
Last night I had the opportunity to see one of the first screenings of Dreamgirls, the Bill Condon film adaptation of the Broadway musical, and Condon has pulled off an inspiring and transcendent new classic. The musical production comes alive in its cinematic form so fluidly that at times you almost forget you're not watching a live production. I can't remember the last time I saw an audience provide such physical and vocal responses to onscreen performances. It's a great feeling to come to a film with high expectations and have them exceeded as that's so often not the case.
You might think that with star power like Beyoncé, Jamie Foxx, Eddie Murphy, and Danny Glover that the jockeying for the spotlight would be intense, but there is really no competition here. This is Jennifer Hudson's movie and she is astonishing.
Dreamgirls will make Jennifer Hudson a superstar. Her vocal performances are epic. No less than four times did the audience erupt into spontaneous ovations as she finished her numbers.
The pivotal scene on which the plot of the movie spins, when Effie is told that she's been forced out of the Dreamettes, is delivered in a dazzling musical one-two punch. As the number "It's All Over," a tour-de-force in its deft boxing match-like staging between Curtis Taylor, Jr. (Foxx), Deena Jones (Beyoncé Knowles), Lorrell Robinson (Anika Noni Rose), and Effie (Hudson) winds up we are left with Effie realizing, defiantly, that she's having her dream snatched from her. The movie takes a beautifully-choreographed deep breath before Hudson slides into her solitary and powerful rendition of "And I'm Telling You". This is the moment in the film everyone will be talking about. Hudson's chill-inducing performance made every hair on my scalp stand on end.
As an audience member there's no way to avoid looking at Hudson's performance against Beyoncé's, or to avoid noticing the way in which the show's plot mirrors the offscreen trajectory of these singers. At one point, Taylor points out to Deena Jones that she's being put up as lead singer because her voice is bland and has no character. Effie is the one with the voice, but she's being relegated to the back row because she is the 'ugly duckling'.
And you root for Hudson because of this. She does not have Beyoncé's model looks (which undergo their own stunning metamorphosis during the film) or her figure, and the filmmakers make no attempt to hide Hudson's heft in the film. But the differences only make you root for Effie even more. Hudson owns this film. It is all hers, and it is beautiful to watch, at the same time realizing that Hudson's real-life story (from American Idol contestant to what should and will be an Oscar-nominated star vehicle) bears an uncanny resemblance to the one unfolding before you.
Make no mistake. Beyoncé turns in a rock-solid performance which in a world without Hudson would garner acclaim. "Listen," one of the new and welcome additions to the show's set of stand-out tracks, wakes you up to the fact that there is another great singer in this movie, but in the end it's like holding a candle to Hudson, who has shot into Hollywood like a brilliant comet.
Fortunately for Sharon Leal and Anika Noni Rose (the other two members of the Dreams), the strength of the other singers offers them some deserved coattails to ride into the public's awareness, but they're essentially bit players here. Jamie Foxx gives a polished performance as the show's villain, but the return of Eddie Murphy makes it difficult for him to get in the spotlight. Murphy is as entertaining as ever as James 'Thunder' Early, the womanizing soul singer who offers the Dreamettes their first opportunity. Keith Robinson, as Effie's brother CC White, delivers a standout performance as well.
The wardrobe and sets in Dreamgirls bring back the slick, glistening environments of the late 60's and early 70's, and in the production is an obvious love for the glitz and excitement of live performance. This is not Evita whose characters were given little or no chance to breathe between numbers. And it is more three-dimensional and ebullient than Chicago. Dreamgirls is on its way to the Oscars.
"...it is the weak who are cruel, and...gentleness is only to be expected from the strong." - Leo Reston
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
"Cruelty might be very human, and it might be cultural, but it's not acceptable." - Jodie Foster
Apparently, Hudson gets a very special "... and introducing" credit screen. How many times has a performer with that kind of credit actually won the Oscar? Seems to be quite a few, if I recall correctly. These are almost all overwhelmingly enthusiastic reviews.
Here's one person's review after the ATL screening posted over at OW:
And another's reactions:
One more (watch out for the spoiler at the end):
Here's one person's review after the ATL screening posted over at OW:
Just got back from the ATL screening.
WOW. This movie was fantastic.
I wasn't disappointed.
Beyonce was amazing. Jennifer was amazing. Jamie was great--I hated him so much...he really made Curtis a "villain." Who ever tought her how to act should win an oscar for best acting coach.
Eddie Murphy and Anika Noni Rose STOLE the show. All around great performances.
The audience was great. Most everyone applauded after "And I'm Telling You..." and even some after "Family." People in the theater reacted aloud the most in the dressing room scene when Effie is told Deena sings lead. I guess if you didn't know the story AT ALL, then this would be a little shocking. There was also quite a bit of murmuring when Curtis told Deena over dinner that her voice had no personality. It was hateful, and people reacted.
"Listen" got applause as well, and I thought the song worked incredibly well being added to the film. It actually gives Deena a little more depth than she has in the stage version.
The staging for "And I'm Telling You..." was effing BRILLIANT.
And I loved how the snippets of actual "history" were woven into the story.
And I hate to be the one to say this, but I think when the Oscars roll around, this film will be heavily nominated but probably won't win many major awards. Of course, we could be surprised, but of all the movie musicals released recently, nothing will top CHICAGO. It was definitely a break-through.
But let me state again that I LOVED LOVED LOVED this film and everyone who didn't get into a screening tonight, you are going to LOVE it!!!
This film was way better then any other musical that came out in the last 10 years.
And another's reactions:
There was a screening in St. Louis this evening, lol.
Jennifer Hudson was wonderful. The way she interprets her songs, her raw (for lack of a better word) emotion was great. Obviously, she identifies with Effie White strongly. And like Effie, where she shines is her songs. That is not to say she is not good elsewhere because she is. But so much of the story of Effie is song that to extract the two is not appropriate.
The crowd absolutely loved her.
"And I Am Telling You" was outstanding. It was a beautiful showcase and complete performance.
When that song began, the auditorium got so quiet. It rather sneaks up on the audience. But I can honestly say I was very moved.
The biggest surprise for me was Beyoncé.
I don't know if it was because I just expected less of her. But in the latter half of the film, she had me. Beyoncé really gets a chance to act and I was surprised how she matured onscreen.
Her song "Listen" was, imo, the second best number and it is all B.
But, really, all of this is possible because of Condon. I was sooo impressed with his complete faith in the material, the cast and this production.
One more (watch out for the spoiler at the end):
J-Hud is the best part of the film, aside from the editing and cinematography. I did however think that the quick cuts made the film a bit too much on the eyes. It runs over 2.5 hours, and everything on screen is moving so fast the whole time that I was tired walking out. I really enjoyed the film though. I think Chicago was much more fun material, but J-Hud and Beyonce get some great opportunities to work it. At the Boston screening I attended, there was huge applause after "And I'm Telling You..." and Beyonce's "Listen" also scored a lot of wow's and "that was amazing!" To be honest, I wish they had beefed up Beyonce's role a bit more because I thought she did an outstanding job with little to work on. Most of her dialogue is at the beginning of the film, and she brings great energy to the role. J-Hud is just a pleasure to watch; she's fresh, makes some mistakes, but it's all forgiven in the end. Her singing and passion might be enough to give her the Oscar. However, I don't think Eddie Murphy's role is enough to make him a lock for a nomination, let alone the win that everyone expected last January; he just doesn't do that much and most of his musical numbers are so quickly cut with expositional material that you barely noticed he was involved in them. Anika Noni Rose is hysterical, and I'm pretty sure she had the most dialogue of the three Dreams, which was smart because she is certainly the best actress (and oddly enough, weakest vocalist) of the trio. If they had given her a bit more screen time after ****SPOILER*** the big death scene, and if they had kept in "Ain't No Party," I don't think it would be unreasonable to see her score a Latifah-like nomination next to Hudson. Any chances of Glover or Foxx getting Oscar nods are nonexistant, although I'm sure Foxx will glide his way into a GG nod.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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Big Magilla
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If I'm not mistaken the newspaper ads show the road show engagement in San Francisco as running from Dec 15th through the 24th - ten days, not seven or one week. The Metreon a megapelex not a stand alone theatre like the Ziegfeld or Cinerama Dome. Seems like an odd choice choice for such a prestigious event.