Johnny Simmons: Beyonce

Showing posts with label Beyonce. Show all posts

Friday, 11 March 2011

Flashback: Dreamgirls

0 comments Posted by 2011 at 17:34

Dreamgirls and Cold Mountain have a somewhat similar history. Both were fêted as shoo-ins for Oscar Picture glory when they were in post-production, both of them racked up a slew of nominations (7 for Minghella’s piece, 8 for Condon’s) without managing to attain that elusive best picture nod. More importantly, they both won that Supporting Actress statue – performances which have gone on to be reviled in many circles. I happen to be more than a moderate fan of Cold Mountain (which I’ve reviewed before) but I’m often indecisive about where my feelings on Dreamgirls lie.* I gave it a somewhat knee-jerk B+/A- when I was doing my 2006 in review post over a year ago. I do like Dreamgirls for all its issues – of which there are many. Watching it recently, a number of things that struck me about all the times I’d seen it before resurfaced, but some even more interesting things came to mind.

I still think of Dreamgirls in context of its supporting actress, although it’s not Jennifer Hudson I turn to but Anika Noni Rose. Perspective is such a great thing, and taking Noni’s recently strong work in For Colored Girls I put even more credence in her work as Lorrell Robinson. It’s more than her age defying ability to encapsulate the youth of Lorrell (who’s half her age) – character consistency is a beautiful thing, especially in a musical like Dreamgirls which, unlike something like Moulin Rouge, takes great pains to be a slice-of-life. When Noni Rose plays opposite Murphy on that tour bus (“You’re so crazy, Jimmy”) or breaks down, almost facetiously, in a dressing room (“Nobody’s breaking me and Jimmy up”) she manages to retain that strident character consistency that’s so necessary in the drama, and that seems more than occasionally lacking in her costars.

Still, I find that this time around I have a little more commendation for the cast itself. Although I am no champion of Hudson’s performance I find it easier to praise her collective delivery – even I applaud her enthusiasm more than her execution. No amount of jaunty editing could conceal her terrible dancing, which is no judgment on her acting ability but suggests an insufficiency in the casting area. It makes Effie’s resultant firing logical, because truthfully she is something of lead-weight if she’s not in the lead-spot, musically. She gets highest praises for “And I Am Telling You” which is odd, since her passion on “I Am Changing” is so much more piercing. There are, too, rare moments where her sincerity is palpable out-of-song. An ineffectual moment like removing an ingratiating M.C’s hand from Deena’s derriere is so well played which only underscores her promise – which has yet to be realised.

On that note of unrealised promise, I turn to Beyoncé who so easily emerges as the performer most likely to be condemned. Depending on my mood I’d say Beyoncé is either just as competent in her role as Hudson, or at times even better. Watching it recently, I feel more inclined to the latter. That glassy-eyed vacant stare which marks Knowles Deena works not only in accordance with her range, but takes on greater meaning when taking the narrative into perspective. It’s that sort of vague suggestion of being vacuous that makes her Deena such a good performer – as Curtis says, she’s nothing but what he puts into her. It works better in the film’s first half, and where Knowles triumphs decisively is in her performances. It’s a surprising thing, but she manages to eschew her natural stage charisma to retain those same characteristics of her characters which makes a number like the eponymous one work because you actually believe you are watching Deena Jones – even if her spoken lines all too often retain a clunky delivery.

It’s that sort of juxtaposition of the good and the bad which marks Dreamgirls. Condon is so adamant in trying to avoid the book-numbers of the musicals, he’s so determined to ensure that the musical numbers occur in a realistic format, the times when he decides to retain pieces like “Family” or “It’s All Over” become problematic. “Family” is especially awkward because it is a number so rich with an almost cringe-worthy amount of sentimentalism. Its placement immediately before the Dreamettes debut (that is not the least bit familial) is subverted by Condon’s occasional tunnel-vision. Which makes me consider Marshall and Nine. Despite the tongue-lashing it received, Nine consistency in its musical numbers makes it a more laudable piece – cinematically, especially.

Then, of course, there’s the male ensemble. Keith Robinson C.C seems less superfluous now, if only because he’s working doubly hard to ensure that the character’s blandness don’t show much. I’m neither fond of nor hateful towards Murphy’s Jimmy. It endures as a fine comedic turn from him, no worse than the few good comedic performances he’s delivered in pieces like Coming to America or Trading Places. It’s Jamie Foxx’s exasperating Curtis Jackson who’s the film’s true albatross. He’s consistently awkward in the role contributing an unremitting impediment to any organic establishment of plot-points.

It’s a bit unfortunate, but a succinct criticism of Dreamgirls could be made from just watching the first fifteen minutes. Condon infuses the narrative with an almost – almost– nauseating amount of colour pyrotechnics culminating in production design that’s strangely officious, even for a musical. What makes it officious is that, there are some moments where Condon’s visual additions add nothing to the story. “One Night Only” ends up coming off for good and for bad, since even when you get the point of the recreation of a real music video being done Condon gets these delusions of grandeur where it’s just a bit too much.

Today, I’d probably give Dreamgirls a solid B because it does remain as a generally enjoyable experience – and its editing is especially good, taking into account its story issues; issues which are part of the actual Broadway production as much as its cinematic counterpart. Krieger’s score never emerges as iconic as it’s endured in some circles (although the new song additions are well infused with the old ones). Dreamgirls might not be one for the ages, but I suppose it is good enough at the end of the day.

*I’m not certain why, but I feel a need to beg pardon for this lengthy discourse. This was meant to be a short look back at the film; it turned into an overly lengthy dissertation. Umm, apologies?

Now that almost half a decade has passed, where do your thoughts rest on Dreamgirls?

Monday, 31 May 2010

0 comments Posted by 2011 at 21:32

Friday, 23 April 2010

Forgotten Characters 2:8

0 comments Posted by 2011 at 04:55

When you star in a glitzy musical with a stunted character and no musical number of your own is there any way for you to thrive? The natural answer is no, you end up being forgotten. But sometimes, a paradox occurs, and both happen. There are some performances that are excellent, but due to whatever mitigating factors they end up becoming forgotten - unfortunately so. That is what happened to this excellence performance:

Anika Noni Rose in Dreamgirls

as Lorrell

When Dreamgirls came out in 2006 it took the world by storm, sort of, and it seemed everyone was enamoured with the newly discovered Jennifer Hudson. As a book musical, Dreamgirls exists primarily as a showcase for the actor playing Effie White and Hudson's Effie, though often uninspired, was competent. However, it was the nuanced performance of Noni Rose that impressed me the most. At 34 Rose was tasked with playing the naive Lorrell Robinson from a teenager unto adulthood. It was a conceit, but one that has worked time and time again. Noni Rose does have a youthful look to her, but it was more than aesthetic that solidified her performance. A professional theatre actress herself, Rose was able to do something that her fellow Dreamettes could not do. Hudson's issue was that she acts only when the camera focuses on her only, she fails to provide a realistic Effie when she was not the forefront on the scene, Knowles Deena is a realistic entity in her song and in dancing, but in her spoken lines there is a nervousness that is only too palpable. However, with Anika, the immaturity and simplicity of her character is understood. From her early scene as she laments over the state of their wigs, a simple line reading like "Deena, it's so...different" suggests eons more than the line would normally allow her to do. The camera may be focusing on Effie White in "Move" but notice the wan smile of Lorrell. She's so oblivious to everything, she's just along for the ride and it's that very characterisation that defines her role. She's not unaware of the tensions in the group as they perform the number "Heavy", she simply chooses to ignore them going to her own "happy place". This is what makes her passionate plea I'm as much a part of this group as everybody else so poignant in "It's All Over".

It's actually a running theme of a woman being pushed the brink, in Act One eventually she reaches her peak with Effie and Act Two turns to her torrid affair with Jimmy. She really isn't given much, so she must act her way through the bland moments. Like Jimmy's decision to light up at the Christmas part, she manages to portray so much with just an aversion of her eyes. If only she was given the chance to perform Lorrell's number from the stage "Ain't No Party". The truncated "Lorrell Loves Jimmy" as she leaves him is too short to present all the loveliness of her voice we've waited for, and "Patience" doesn't allow us to get inside her character. That makes her performance all the more worthy, like her frenzied run through the hall after hearing of Jimmy's death or her looks of sadness as they sing "Hard to Say Goodbye". Whenever I hear the word Dreamgirls I remember my favourite (incidental) line-reading as she turns to the exaggerated Eddie Murphy and says the sagest lines of the film. "Oh Mr Earlie, you so crazy." It's a brilliant turn from a forgotten woman, but she easily makes my top 5 Supporting Women for 2006.

Did Anika impress you with her shrewd acting choices in Dreamgirls? Or was she rightly shafted from any love?

Previously Forgotten...

Saturday, 10 April 2010

Decade in Review: Music of the Night

0 comments Posted by 2011 at 12:46

Somewhere along the line I fizzled out on this series, but it's April and as I said I'm doing the exorcism...so here goes. I like music, actually I used to be obsessed with it (more than books and film, gasp). Not so much anymore, though. I'm probably one of the few who love the music categories at the Oscars though. I've taken a look back over the decade of the pieces of film music that really moved me this past decade.

THE SCORES - I linked to youtube clips of each piece, and embedded my three favourites
The Lord of the Rings: The Fellowship of the Rings [Shore] It's as epic as it needs to be and always so moving, especially the bits in the Shire. listen

The Hours [Glass] His use of the wood instruments is startlingly good, the music is just as important as the editing in the joining the lvies of our three women. listen

Cold Mountain [Yared] From the opening note he gets me hooked. Not as lovely as his work on The English Patient, but still excellent. listen

The Lord of the Rings: The Return of the King [Shore] I find it even better than the first two, it's not as made up of refrains as The Two Towers and it's darker than the first. listen

Finding Neverland [Kaczmareck] It's a shame has hasn't done anything notable since. listen

Pride & Prejudice [Marianelli] I always assumed that actual classical music was being played. The pieces at the ball are particularly jaunty and fun. listen

Atonement [Marianelli]

As soon as that typewriter started clicking I knew I was on to something especial...and I was.


The Curious Case of Benjamin Button [Desplat]

This particular entry "Mr Gateau" is my favourite portion of the score, but it's all excellent. What a snub that was.

Bright Star [Bradshaw]

What an excellent debut for a newcomer. It's not abundant, but it's excellent.

The Fantastic Mr. Fox [Desplat] listen

It's so different from his good work on Button and Cheri. The music is almost its own character, throroughly original and inventive.

THE SONGS - I linked to youtube clips of each piece, and embedded my three favourites, and another...

"Come What May" from Moulin Rouge! listen

The snub heard around the world...this was due to the always weird rules of the Oscar's music branch. Moulin Rouge!'s love duet is so lovely and it's so nice hearing Ewan McGregor and Nicole Kidman harmonise. Isn't it?

"May It Be" from The Lord of the Rings: The Fellowship of the Rings listen

Enya is a talented singer, and her vocalising is major part of why this track is always so haunting. It sets the perfect tone for the trilogy.

"I Move On" from Chicago

I liked this song fine when I heard it play over the credits with Roxie and Velma hoping to "move on", but it was when a pregnant Catherine Zeta Jones and Queen Latifah performed it at the Oscars that I realised the beauty of this number. Ebb and Kander know a thing or two about excellence, and this song is just that.

"Scarlet Tide" from Cold Mountain

Alison Krauss is a talented singer and her ballads for Cold Mountain are lovely. This song easily stands out as my favourite film number of the decade. It's eerie how much the words have to do with the plot for the film...just lovely.

"Into the West" from The Lord of the Rings: The Return of the King listen

Annie Lennox's number for the trilogy features as a good companion piece for "May It Be". I won't lie, I shed a tear as the credits starting rolling at the cinema and this tune started playing. For shame.

"Learn to Be Lonely" from The Phantom of the Opera

Even though I actively loathe Andrew Lloyd Webber, hearing Beyonce sing this at the Oscars (remember tha year?) made me realise that the man has his moments. The ballad is simple, but in no way pedestrian and it fits so perfectly with the life of The Phantom. It's not my favourite of the ten, but it really is an excellent performance from Ms. Knowles.



"Falling Slowly" from Once listen
Who doesn't at least like this? Just beautiful.

"So Close" from Enchanted listen

This stood out as my favourite of the enchanted numbers. It doesn't really do that much in context of the film, but it's a good song nonetheless.

"Once In A Lifetime" from Cadillac Records listen

2008 was a travesty in terms of the song category, they snubbed Springsteen and they snubbed this good piece from Cadillac Records, an underappreciated film. I'm still not sure how it ties to the film's plot (which is probably why it was not nominated), but it really is something special - says me.

"Smoke Without A Fire" from An Education

It's so clear that the film was written with Jenny Mellor in mind when you listen to the lyrics, and Duffy's unique voice makes it all the more moving with no schmaltz.

Well, you know my taste in films...but what are your thoughts on my musical tastes? Which score remain in your memories from this past decade, which songs can't you stop humming?

Wednesday, 6 January 2010

Top TV Moments of 2009

0 comments Posted by 2011 at 05:39

I'm not always one to go into random celebration over blog related happenings. I'm not deluded enough to think that I've made that unmalleable mark on the world with this blog [as yet :)], but on Friday it would have been one year since I've been blogging here, and it makes me somewhat giddy. Sure, my early posts were not very good, but my first post was title Favourite TV Moments of 2008, so I'm going to to take a look at my favourite moments of 2009 in this post. Obviously. Hence, the name. I should warn you, this is mine and only my list. So it'll be strange.

#10: Parks & Recreation

Weird? I am a fan of Amy Poehler, she's arguably the most talented member that SNL had in the last few years and she's incredibly adept at acting. Last Spring when Parks & Recreation made it's debut it was something a clunker. The series was not gelling immediately, but when Season Two premiered in the Fall it was definitely heading places and it's turned into one of the best things on NBC sometimes even surpassing giants 30 Rock and The Office on occasion. Hopefully the writers keep up the good work and keep giving Amy something to do. And hopefully Emmy rewards her with a nod. But that probably won't happen. We'll see.

#9: The Tony Awards & Marcia Gay Harden

I didn't watch the Tony's, but hearing that Ms. Harden had her Tony meaning that the Emmy is the only thing keeping her from being a triple crowner made me oddly happy. And the fact that Geoffrey Rush was also headed that way only increased the glee. Sure, it may not have been such a pivotal moment. But I never promised you logic in the list. Did I?

#8: Adam Lambert and American Idol

Come on. How could he not make the list? I've tuned out of Idol [hopefully forever] but Lambert was a crap-load of fun last season. It's undeniable that he is particularly talented with one of the best voices this show has scene. But what makes him list-worthy is that he was so damned fun to watch. And that duet with Alison Iraheta [who was another noteworthy person, that season] was off the chain.

#7: Kristin Chenoweth & The Cast of Glee

I'm glad that Lea Michele has grown vocally since Spring Awakening, it's nice seeing Lynch and Morisson doing good work...but the highlight of Glee was Chenoweth's guest appearance. She sang Carrie Underwood, she sang Liza Minellia and she sang Heart. Talk about variety. And she nailed it, of course. It's nice seeing the love for Glee, but it's even better seeing love for lovely Ms. Chenoweth.

#6: The Emmy Awards and Kristin Chenoweth

Yes, Kristin makes another appearance, but it was such a deserved Emmy and with the cancelling of Pushing Daisies it was a giant f*** you to ABC. And then with the wins of Jessica Lange and Glenn Close it only made me happier.

#5: Jim and Pam's Wedding: The Office

The Office had some of its best moments in this one hour episode as we finally saw that guy and that girl get married. An episode of pure fun and funny. What more do I need?

#4: Michael Jackson's Memorial Service

The television sure was wrought with MJ news and the culmination was this service with all those performances. Fitting for the death of a king and all.

#3: Grey's Anatomy Season Finale

Univarn hates this show. So do many. I love it. I told you, there'd be truth...but no logic. The cliff-hanger of sorts at the end of Season 5 was something, but the entire episode was so controlled and soooooooooo riveting and their best finale since Season 2. It was awesome. Really. It was.

#2: Kanye/Taylor/Beyonce

It's not that I really liked the whole hoopla and West's ridiculous. If this had been done to someone else it would have been funny. You know if this happened to say, Amy Winehouse she would destroy him: and then it would be funny. It was only sad, because Taylor Swift is a child and Kanye West is inane. And power to Beyonce for her graceful turn and letting Taylor have her moment. Of course now, the world cannot escape her. Blame Kanye West.

#1: The Academy Awards: Espcially Hugh Jackman

I can't say I loved the Oscars - Slumdog Millionaire eviscerated any chance of that. But Kate Winslet and Penelope Cruz had some nice speeches. And that entire Best Actress presentation with the five winners vs the five nominees was sweet. But Hugh stole the show. The opening number and that tribute to the musicals was tremendously entertaining, in a somewhat spotty show he was the highlight.

So how crazy am I? What's missing?

PS. I'm seeing The Lovely Bones and Up In the Air tonight.

Johnny Simmons