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I found the editing in Dreamgirls distracting. And while I can appreciate the critiques leveled at the film's lack of authenticity, I'm feeling a bit chagrined because I loved the movie for the same reason that many black audiences are embracing the film -- for the sheer joy of seeing that many black people of all shapes, sizes, hues, and talents, up on that gigantic screen for all the world to see. When you're a black person in Vancouver, you can't underestimate the power and importance of such a moment.

Is it a coon/minstrel show for modern times? I'm not sure I have the answer to that (though I think Jennifer Hudson's scaled-back performance of "And I Am Telling You" a bit more polished than Jennifer Holliday's original). The issue I'm taking up with the criticism being leveled at the film is that there seems to be a level of cynicism involved, that we are viewing this film with a jaundiced eye and expecting realism from Hollywood. Is the irony of that expectation lost on everyone except me?

That being said, I mainly wanted to see the film to witness Jennifer Hudson's vindication. And while I went in expecting to hate "Sasha's" performance in the film, I have to say that Miss B. has grown as an actress. Instead of cardboard, she's starting to take on the personality of a mannequin - something almost human but not quite. Don't get me started on the ridiculousness of that bone they threw her to keep her assigned to the project. Sure, her voice was the best I've heard it in years, but the only thing I kept thinking was "Damn, enough - where's Jennifer?"
I don't think Steven Boone's criticism of the film was that harsh and I disagree with him a bit about the need of the film to truly vindicate Effie or to be upset about the hollywood-ized ending (it is a hollywood movie after all and I also have none of the problems that lots of people seem to have with The Color Purple for exactly the same reason).

That said, there are some cultural things to consider. It bothers me a bit that every single key person behind the scenes is white -- the director, the writer, the producer, the casting director, the director of photography, the editor, etc -- while every face on screen is black. I loved the experience. I think Dreamgirls has its heart in the right place and I think it deserves all the accolades it will receive but...if there wasn't song & dance? If it was directed by a person of color? Would the recognition of audiences -- all audiences, black or white or whatever -- be the same?

Would my own love of the film be the same?

Having those thoughts, though, doesn't in any way diminish my absolute adoration of the film. It was the best movie I've seen this year and the most enjoyable movie experience I've had since Kung Fu Hustle (which also has musical numbers...see a trend?) and I would happily watch it every day.

It's the black Titanic. Go see it again and again!
About the cultural makeup of the people behind the scenes - how does it compare to the racial makeup of the people behind the play? I'm not saying one justifies the other, I'm just curious.
It is exactly the same. The theatre production was created by Tom Eyen, Henry Krieger and Michael Bennett although it was workshopped heavily with Nell Carter, Sheryl Lee Ralph and Loretta Divine (for well over a year) before it made it to stage.

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Jason

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Jason
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