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Dreamgirls - Em Busca de um Sonho


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Esse filme já conta com campanha para o Oscar e tudo ... mas a Beyoncé já deve ter uma vaga garantida no Framboesa com o remake de A Pantera Cor de Rosa smiley36.gif. E ela disse que sonha ganhar um Oscar ...

A história de  Dreamgirls é  , na verdade , do trio The Supremes ( aquele grupo de soul music que revelou a Diana Ross ) .   

Fernando2006-2-28 21:21:34
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Esse filme já conta com campanha para o Oscar e tudo ... mas a Beyoncé já deve ter uma vaga garantida no Framboesa com o remake de A Pantera Cor de Rosa smiley36.gif. E ela disse que sonha ganhar um Oscar ...

A história de  Dreamgirls é  ' date=' na verdade , do trio The Supremes ( aquele grupo de soul music que revelou a Diana Ross ) .   


Pois é, repare que na foto elas estão identicas ao trio.smiley17.gif


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Pressure cooks for 'Dreamgirls'


Hopes high for pic to goose musical pic genre




NEW YORK -- Not to put too much pressure on Bill

CondonBill Condon, but

"Dreamgirls" had better be good.


In 2002, Rob MarshallRob Marshall's Oscar-winning "Chicago""Chicago" (written by Condon) and, to a

lesser extent, Baz LuhrmannBaz Luhrmann's "Moulin

Rouge""Moulin Rouge" the previous year dragged the

long-unfashionable movie-musical genre out of mothballs and back to commercial



But the major screen

adaptations of hit musicals that have come along since -- Warner's "The

Phantom of the Opera," Sony's "Rent" and U's "The

Producers" -- have gone oh-for-three, encountering lukewarm critical

response and underperforming at the domestic box office, the latter two pics in



One more misfire and the

genre risks being declared officially dead in Hollywood. That makes it vital

for "Dreamgirls" -- the next screen musical out of the gate, due in

December -- to get it right, and to learn from the mistakes of the recent crop.


Cross-fertilization between

Broadway and Hollywood has seen highs and lows in the past century as screen

musicals shifted in and out of vogue. When synchronicity is achieved, as it was

with "Chicago," a long-running stage show can create enough

anticipation for a movie release to kickstart its life in the multiplexmultiplex.


Vice versa, a hit movie can

pump legitlegit B.O.B.O. receipts for a show, significantly

extending its life on Broadway, not to mention putting fuel in the tank of

touring and offshore productions.


But while even a commercial

flopflop like the "Rent" movie can

goose ticket sales for the stage show that spawned it, screen adaptations need

fresh artistic reasons to exist, something the "Phantom,"

"Rent" and "Producers" pics all lacked.


When the creative planets

are aligned, stage musicals can be a unique experience -- dynamic, visceral,

capable of transporting the audience emotionally to highs that mere spoken

words can't reach. But unless the vehicles are reconceptualized to fit the

screen, they can lose that sizzle and become pallid transplants.


The wisdom behind "Phantom""Phantom" seemed to be about making a bigger,

lusher, more ornate replica of the original show. But magnification simply made

its Gothic melodrama seem a turgidly overripe waxworks. And scenic coups that

have an impact on stage -- a chandelier plummeting, a gondola navigating a

misty catacomb canal -- can look pretty ho-hum onscreen, where digital wizardry

has made anything possible.


Likewise, a comedy such as

"The Producers" needs to rethink its mechanics for the screen. Mel BrooksMel Brooks' stage hit ratcheted the interplay

between title duo Bialystock and Bloom up a few notches from the 1967 film that

inspired it. The new film attempts to maintain that level of theatrical

hysteria, resulting in a quaint, uneven comedy, often simultaneously shrill and



Scenes that were comic gems

onstage -- the geriatric tap routine with walkers, the outrageous Teutonic

showgirl costumes in "Springtime for Hitler," Nathan Lane's dizzy

four-minute plot recap in "Betrayed" -- felt tired in the film. Susan

Stroman's inexperience as a filmmaker certainly didn't help, largely

duplicating the stage experience and sticking to legit tropes where reinvention

was required.


"Rent" suffered

in translation for different reasons. The notion of casting original stage

leads was commendable and no doubt thrilled fans nostalgic for those faces in

those roles. But the effect was one of grown-ups trapped in their early 20s. The

show's romanticized depiction of boho life on the fringes has lost much of its

urgency in the decade since it debuted, and while the raw emotions to an extent

masked the narrative's chaotic jumble onstage, onscreen it was rambling and



Despite the recent dismal

track record, audiences who care about movie musicals have reason to be

optimistic about Condon's "Dreamgirls" and the writer-director's

ability to reimagine a property that already was highly cinematic in Michael

Bennett's knockout 1981 production.


Regardless of where anyone

(this critic included) stands on the overall merits of the wildly successful

"Chicago," most people agree that the key to unlocking the challenges

of that long-gestating project as a film was Condon's screenplay. In projecting

the musical numbers as products of the mind of Death Row murderess Roxie Hart,

the writer gave the film a clear-cut perspective that had not been in place

onstage. At the same time, he overcame the resistance of a public no longer

accustomed to screen characters launching into song by making them fantasy

numbers in Roxie's starstruck head.


With its Motown girl-group

story and recording industry setting, "Dreamgirls" seems ideal for

tailoring less as a bursting-into-song tunertuner -- a device that seems only to work

now in heavily stylized contexts like "Moulin Rouge" and

"Chicago" -- than as a drama that incorporates musical performances,

like "Ray" and "Walk the Line." "Dreamgirls" is a

show that has worked both in its elaborately designed-and-lit original staging

and in subsequent pared-down concert versions.


Where Condon will take the

show as it transfers to film remains to be seen, and the DreamWorks-Paramount

advance marketing gives few clues beyond the expected dazzle of the spotlight

and powerhouse vocalizing. But in the interests of keeping the movie musical

alive and giving Broadway tuners a second wind as screen properties, break a

leg, Bill.



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O DreamWorks SKG Fansite publicou as primeiras imagens que mostram Eddie Murphy e Jamie Foxx caracterizados em Dreamgirls. Murphy
interpreta o cantor James “Thunder” Early, enquanto Foxx vive o
empresário Curtis Taylor Jr. Clique nas figuras para ampliá-las:


dreamgirls02s.jpg  dreamgirls03s.jpg  dreamgirls04s.jpg

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Pics: Tune deaf?

Studios, filmmakers on shaky ground with movie musical




Hollywood is worried it can't carry a tune.As a

slew of musical adaptations move into, or closer to, production --

including DreamWorks and Paramount's "Dreamgirls"; New Line's

"Hairspray"; and producer Jonathan Sanger's "Jekyll and Hyde" -- studios and filmmakers can't help but feel they're on shaky ground, considering the recent fates of Revolution Studios'

"Rent" and Universal/Sony's "The Producers." Those pics have grossed

$29 million and $18 million, respectively. Between them, they've lost

about $100 million.

"I'm optimistic about future musicals, but I think we're now in treacherous territory," says Craig Zadan, who, along with his producing partner Neil Meron, produced "Chicago"

-- the pic that in 2002 made Hollywood go gaga over musical adaptations

when it grossed $306 million worldwide. The pair are now at work on


"I think inevitably there will be a backlash," Zadan

says. "It rests in the hands of 'Dreamgirls' and 'Hairspray.' If

they're successful, we'll be back on track -- people will continue to

greenlight musicals. If they don't work, then you're going to see

everyone go back to the way it was before 'Chicago.' "

This anxiety is inevitably causing a kind of detailed post-mortem on "Rent" and "The Producers."


issue is casting. In an effort to be loyal to the stage shows, both

"Rent" and "The Producers" relied on the shows' original casts as

opposed to hiring stars with proven track records opening movies.

Although Nathan Lane and Matthew Broderick are well-respected thesps on stage and screen, neither has recently carried a major pic. Ditto for the "Rent" ensemble led by Rosario Dawson.


Producers" producer Sanger says that when Lane, who originated his role

as Max Bialystock on Broadway, heard a movie was going to be made of

"The Producers" -- itself an adaptation of the 1968 Mel Brooks film -- he joked: "Oh, I'm sure it'll be Ben Stiller playing my role."


hindsight, the comment isn't entirely comical if one thinks in cynical

box office terms -- something studios tend to do. Universal pushed to

have Will Ferrell

-- who plays a supporting role in "The Producers" -- displayed more

prominently in the U.S. marketing materials for the film, but was

rebuked by Ferrell's agents and managers, who closely monitor how

Ferrell is branded.

Having now turned his attention to "Jekyll

and Hyde," for which Sanger is looking for financing, the producer says

he is thinking along the lines of toplining Hugh Jackman and Scarlett Johansson -- thesps who "would make a big difference to an audience."

In the case of "Dreamgirls," which is being directed by "Chicago" scribe Bill Condon, the film has a dream cast when it comes to bigscreen names: Eddie Murphy, Beyonce Knowles and Jamie Foxx.


is already making the most of this. Although the pic just started

shooting and won't be released for 11 months, it's already getting

tentpole treatment in the form of teaser trailers and double-truck ads.


says "Hairspray," which is being directed by Adam Shankman, will have

"stars in all of the major roles" -- there have reportedly been talks

with John Travolta, Queen Latifah and Billy Crystal -- though the lead, Tracy, will be an unknown, tapped via an "American Idol"-like search.


a girl who's 17 or 18, she's overweight, pretty, a great singer, a

great dancer and a great actress. I don't know anyone who fits that

description -- do you?" Zadan jokes. (Marissa Jaret Winokur, who won a

Tony for her portrayal of Tracy on Broadway, is now in her 30s.)


filmmakers behind "Dreamgirls" and "Hairspray" are also insisting

they're trying to re-imagine the Broadway shows, not re-create them --

the major criticism lobbed at "Rent" and "The Producers." To that end,

both pics will have new songs (Beyonce is writing a few for

"Dreamgirls") and additional scenes written with the screen, not stage,

in mind.

"What one always hopes is that one is appropriately

faithful and deviates appropriately at the same time," says

"Dreamgirls" producer LaurenceMark. "With a piece like 'Dreamgirls,'

you have to kind of take into account both then and now, since it's a

period piece set in the 1960s. Yet you want it to feel both of the '60s

and of this moment. That's often the challenge."

Says Zadan: "Our

design concept and tone could not be further from the show. It's going

to be a heightened reality. The show is this big, colorful experience

that you have when you go into (Broadway) theaters. If you did that (in

the movie), it would look gaudy onscreen. It wouldn't look real."

Zadan adds that the new "Hairspray" will also deviate from John Waters' 1988 film version, on which the Broadway show was based.


notes that when director Shankman spent a day with Waters, he came back

with a valuable -- and freeing -- insight. "John Waters said, 'When

they did the Broadway musical of my movie, they basically ignored my

movie and did what was right for the show. I urge you to ignore my

movie and their Broadway show and make something that is new and

fresh.' "

Revolution partner Tom Sherak

insists that in hindsight he wouldn't have done "Rent" any differently,

though he'd have preferred to have made it a decade ago, when its

themes of urban bohemia and AIDS were more resonant. ("Rent" had a

tortuous development process ever since it was optioned in 1996.)


think it was just 10 years too late in the making," Sherak says. "The

things that were important back then, I just think they're not

important to today's culture."

Sherak denies that the latest musical disappointments have spoiled the genre in Hollywood, and exudes enthusiasm about Revolution's next musical endeavor: an original love story directed by Julie Taymor and set to Beatles' tunes.


musical is not dead by any stretch of the imagination," he says. "It

just has to be something that the public wants to see. Each movie is

different. There will be another 'Chicago.' "




-felipe-2006-3-12 10:58:44
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Oh DreamWorks. Your set visit for Bill (Gods and Monsters, Kinsey) Condon's Dreamgirls
got the press started off on the right foot. "Let's schoomze these
jerks over and get their asses krunk!" And though I didn't get krunk -
honestly, not even plain drunk - I was pretty buzzed by the time I made
my way through the rain-soaked streets of Downtown Los Angeles
and back to
my car (which was guarded by a hobo named Leroy). Luckily, I wasn't
incarcerated and I did manage to swerve and weave my way back home
safely. Obviously.

But yes, Downtown L.A. was the locale. The setting? The Orpheum Theatre, an old-school cultural landmark of stage entertainment that once featured performances from such
greats as Judy Garland, Jack Benny, and Duke Ellington.

the Orpheum. That stage and the area surrounding it would later be
filled to the brim with camera and crane operators, gaffers, best boys,
and Bill Condon. And Beyonce Knowles' hips. Luscious.

For those who haven't been paying attention, the Bill Condon scripted/directed Dreamgirls is the film adaptation of the hit 1980s Broadway musical which was loosely based on the rise of Diana Ross and The Supremes. Playing the Diana Ross-like character of Deena Jones is none other than Ms. Beyonce Knowles, with American Idol alum Jennifer Hudson as Effie Melody White and Tony Award winner (for Caroline, or Change) Anika Noni Rose playing Lorrell Robinson. These three three make up "The Dreamettes" in the film.

men are arguably the more interesting group, mainly because you've got
one actor who is finally starring in a film that more than likely won't
be awful... or Shrek 3.
Yes, I'm talking about Eddie Murphy. And goddammit, I wish I could show
you guys some of the design elements from the production.
Unfortunately, since this set visit was supposedly uber hush-hush, no
cameras or recording devices were allowed - which is odd for a set
visit but whatever. There was a mock poster of Murphy, sporting large,
tall hair and in full-out stage musical regalia proclaiming, "James
'Thunder' Early is LIVE!" that I think you all would've dug.

"Thunder" Early. That's Eddie Muphy's character in the film - a James
Brown-like performer, which should be very interesting to see how he
plays. Then there's Jamie Foxx in the role of Curtis Taylor Jr. and Danny Glover as Marty Madison.

Danny Glover: Good to see him amending for crap like Saw. Cary Elwes, you're next.

arrived at the Orpheum at about 6:15pm. The thing started at 6:00, but
as I briefly mentioned earlier, it was raining. Wait, scratch that. It
was Niagara Falling. And driving through that part of Downtown with
such low visibility was fucking hell. Fortunately, I saw the Orpheum
thanks to its ginormous neon lights. UNfortunately, I couldn't find the
parking lot where the studio was giving us free parking (and this is
because you've got a parking lot every 25-50 yards on this street, and
in that rain, good luck finding street numbers!). So I wound up paying
five bucks at a different lot where nearby homeless dude Leroy said
he'd take extra good care of my car while I did my thing. Suspiciously,
I thanked him, gave him a buck, and quickly took my car's radio head
unit out, stuffed it in my man-bag, and got the hell out of there.

I walked about a block in the pouring rain to the theatre, I saw other
well dressed peeps of the press making their way down an alley. So I
followed, hoping not be mugged. Soon I was under a tent with people
left and right ready to take my coat and umbrella, and not a second
after I handed those things over, I was offered tasty alchoholic
beverages like champagne and martinis. 'Natch, being the sweet choclate
metrosexual that I supposedly am, I took a dry martini and continued
onward into the actual gala event.

Current Drink: Dry Martini

I'm walking around the area, all within a rather large covered tent
that was housing about 200+ humans (press, studio execs, apparently
some minor celebs which I never actually saw), and I'm gazing at some
really lovely costume pieces from the film itself, courtesy of Costume
Designer Sharen Davis, who has clothed thespians in such films as Ray (for which she was Oscar nominated) and Devil in a Blue Dress. It's pretty meticulous and it's work that I think is almost better appreciated in person than when watching on film.

continued walking down the tent while sipping my drink (read: gulping
my drink) and I came across some of the stellar work done by Production
Designer John Myhre (who just won an Oscar for Memoirs of a Geisha and already had one for the Bill Condon scripted Chicago).
It was basically a table with miniature models (some black & white,
others in full color detail) of the film's various locales and
settings. Apparently, some of the models were actually shot with
"lipstick cams" for lots of the secondary unit photography (ala
Manhattan and the Empire State Building in last year's King Kong). Wonderful stuff.

Current Drink: Dry Martini #2

I'm moving towards the front of the tent where a series of plasma
televisions and a large projector were set up for the impending
presentation at 7:00pm (it was now about 6:45, I'd say), I come across
a familiar face: Collider.com's Mr. Beaks!

I had met Beaks
(among other brilliant minds) at a little dinner gathering thrown by
head honcho Nunziata when he was visiting the City of Angels last year.
I think he recognized me but didn't recall my name until I said it
(Dammit, nobody remembers me! ;_;). I was then introduced to his
partner in crime over at Collider, the infamous Frosty (a very cool
cat). I also met David Poland, one of the net's more notorious critics.
He was amiable, though, and had some really great things to say about V for Vendetta. And then, AICN's Moriarty showed up! To say the least, it was a rather cool gathering of interweb minds. And me.

7 o'clock came and went. Nothing happend except copious amounts of
hors d'oeuvre and alcohol
consumption. 7:30 rolls around and finally Mr. Bill Condon himself
steps onto a small stage in front of a large projector screen and
begins to address the crowd, both thanking us for making it out here
through such shitty weather as well as thanking and introducing the
behind the scene players, including the aforementioned Sharen Davis
(Costume Designer) and John Myhre (Production Designer), as well as
Choreographer Fatima Robinson (Ali, Be Cool) and Director of Photography Tobias Schliessler (Friday Night Lights) whom Condon had last worked with on Candyman: Farewell to the Flesh in 1995! Cool.

Current Drink: Screwdriver

Condon got through with talking about the production, he then showed us
a brief but very promising clip of a song and dance number featuring
Jamie Foxx entitled, "Steppin’ To The Bad Side". It was apparently shot
and edited very recently (no color timing or any of that tech stuff had
been done) yet the clip showed off some great choreography,
photography, and a wonderfully lively performance by Foxx. It got the
crowd moving, too.

then told to exit the tent and head down the back of the alley we all
originally came in from, and finally make our way into the actual
Orpheum Theatre. At this point, I was in awe. For starters, I had never
been inside the Orpheum. It's been a place both my parents and
grandparents had gone to in the past to see some great shows. Secondly,
I had never actually been on a set where everything was ready to
actually shoot. And they did! Not final film footage, but test footage
of a musical number that featured the Dreamettes themselves (this meant
actually witnessing Beyonce's hips in glorious action).

And so
it was. The press filled the recently renovated innards of the landmark
theatre and seated themselves as tons of on-set hands and workers
watched. I was seated with Frosty, Beaks, and Moriarty and we just
waited and watched the insanity of the whole film shooting process. And
when I say insanity, I don't mean chaos,
because it was completely the opposite. Everything was working like
clockwork. A very well oiled machine. That was the insanity. Seeing so
many people all working at getting this one shot just right. And like I
said, it was only a test shot. But nevertheless, they did their shit
and I was thoroughly impressed. And in about 5 minutes, the musical
number began. With set ups like the best musicals on Broadway, the
number pushed through with wonderful intensity and liveliness. Beyonce,
Jennifer, and Anika were marvelous and so completely in the moment. It
was the sort of performace that completely sucks you in as an audience
member and ensares you in its rhythmic goodness. By the end of the
number (which seemed to go by in a flash) the audience, full of mostly
press mind you, ripped into a thunderous applause. I was floored. The
number was well choreographed and the music itself top notch. Most
importantly, it engaged me with energy to spare. If even half of that
translates onto the big screen, I'd say musical fans are in for a real
treat come December.

Current Drink: Maker and Diet Coke

we all make our way back to the tent. It's about 8:00pm now and the
whole shebang was gonna end in about an hour. Nothing more happend
(except more eating and drinking). I got to meet Aussie sensation Garth
Franklin of Dark Horizons fame, which was cool. Jamie Foxx and Beyonce
Knowles were both making their rounds in the tent with everyone else -
drinking, eating, greeting, etc. Jamie was a stand up guy. Very
personable and very approachable. Beyonce on the other hand, was
guarded by quite possibly the largest man on earth. He may not even
been human for all I know, but rather, Godzilla in disguise. So my
hopes of getting to talk to her were dashed. For now.

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lithgowjohn.jpgJohn Lithgow (da série 3rd Rock from the Sun – foto) filmou uma ponta em Dreamgirls. O

ator interpreta Jerry Harris, um produtor que conhece a personagem de

Beyoncé Knowles quando ela escolhe seguir uma carreira no cinema. “Ele não é um sujeito simpático,” disse Lithgow ao site LA Daily News. O ator, que recentemente esteve em Kinsey – Vamos Falar de Sexo, mudou o visual para se adequar à época em que o longa se passa. “Espere até você ver meu cabelo. É muito 1974,” completou.


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Bill Condon? Tudo bem,nada excepcional,mas também gostei de Deuses e Monstros e Kinsey,só não vamos esquecer que ele também fez Candyman 2...Honestamente,tá me parecendo que este é o Ray ou Johnny & June deste ano,e tem mais,Eddie Murphy cotado ao Oscar? Até concordo que há como vir dele boas atuações,é ver prá crer,mas é querer forçar muito a barra promover Beyoncé para prêmios.Parece aquelas coisas de campanha a longo prazo,ou seja,eles acham que de tanto falarem a gente acaba se acostumando com a idéia.

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Quanto a ser o Ray ou Walk the line desse ano eu já acho improvavel, pois esse filme não é uma cinebiografia do tipo, é um musical pelo que me parece até meio cinico criticando a industria das celebridades. Condon fez um trabalho excelente em Chicago, e se tudo der certo acho que ele pode repetir o exito aqui.


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Artigo da Entertainment Weekly:



Dreaming of Oscar With big stars and a killer pedigree, Dreamgirls may be poised to sing a song of victory next year.



21 April 2006



It won't be on screens for eight months--in fact,

it only wrapped last week--but awards-season murmurs are swirling

around Dreamgirls, the film version of Michael Bennett's 1981 stage

musical about a Supremes-style trio torn up by backstage politics. The

show's best- known song ends with the command "You're gonna love me"--a

phrase that aptly describes the super-early campaign for the

DreamWorks/ Paramount flick.



The push started Feb. 27, in mid-production, when the studio

ushered hundreds of media folks into a downtown L.A. theater to meet

Jamie Foxx (he's Curtis, a Berry Gordy-ish talent manager) and Beyonce

Knowles (she's Deena, a Diana Ross type). MIA that night: press-shy

Eddie Murphy, whose dance routine as James "Thunder" Early was taken

over by costar Keith Robinson. Next came the ShoWest convention in

mid-March, where a "Star of Tomorrow" award went to Jennifer Hudson,

the brassy, big-voiced American Idol contestant from season 3 who plays

the brassy, big-voiced singer Effie. (Tony winner Anika Noni Rose plays

a third member of the group, Lorrell.)



So will it live up to the hype? EW got an early look and saw some

arresting stuff, including Beyonce resplendent in a disco-era silver-

lame cape and long, corkscrew-curl wig, and Hudson warming up for a

smackdown song with Foxx. But while the stars and the studio seem

confident, Bill Condon (who directed Kinsey) is behind the cameras

sweating every detail and worrying how it'll go over--especially a host

of Act 2 changes. There will also be four new songs, including an "11

o'clock number" for Beyonce titled "Listen" and a paean sung by Hudson

called "Love You I Do." Frets Condon, "They'll be saying, 'He changed

this, he changed that.' I mean, that's what I would say." The studio

reps are betting critics and award balloters won't sing the same




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As filmagens de Dreamgirls terminaram

há duas semanas. Cenas já finalizadas foram mostradas a executivos da

DreamWorks e da Paramount, que gostaram do que viram e aprovaram a

apresentação de um clipe de 20 minutos no Festival de Cannes. Segundo a

Variety, a exibição será realizada em 19 de maio. Os

estúdios vão aproveitar a ocasião para iniciar a divulgação do filme,

levando o elenco e o diretor Bill Condon para promoverem a produção no

evento. Dreamgirls será lançado em 21 de dezembro, nos Estados Unidos, e é considerado uma forte aposta para o Oscar.


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Mostraram alguns pedações de Dreamgirls no Festival de Cannes. David Poland viu, gostou e reafirmou que é material puro para Oscar - o que inclui Eddie Murphy (depois não digam que não falei...)


Aquii está a matéria a respeito:


link: http://www.mcnblogs.com/thehotblog/





Dreamgirls On The Croisette



There was some joy in CannesVille tonight (they’re 9 hours ahead of L.A.), as DreamWorks/Paramount offered a sneak peak at their Oscar candidate and, they hope, the second big commercial movie musical success story of recent years, Dreamgirls.


The studio coughed up four songs, a verbal tap dance by writer/director Bill Condon, and a terrific three minutes trailer-style clip reel to a fifth song in the film.


First on tap, the Dreamettes get their first professional gig, singing back up to Eddie Murphy’s James “Thunder” Early, the show’s take on James Brown, Jackie Wilson, and Marvin Gaye. The number, “Fake Your Way To The Top” dazzles as the girls mature into pros and relationships manage to develop before our eyes, even without words.


My favorite unspoken bit is when Murphy’s Early (a performance that stinks of Oscar, even in this small quantity) wants two back up singers, but accepts the three, figuring without a word that there is the beauty, the singer, and the one to whom he is immediately attracted and that if the girls were forced to drop one member, his hoped for lover would be the one to go. And of course, this is an early echo of what is to come in the film.


Next, there is the scene when Jamie Foxx’s Curtis Taylor lets the Dreamettes know that they are going to go off on their own as The Dreams… and that lead singer Effie (Jennifer Hudson) is going to have to back up beauty Deena (Beyonce Knowles). That leads into the song, “Family,” sung first by Effie ("What about what I want?"), who is then joined by her brother, CC (Keith Robinson) and then by the rest of the girls and Curtis.


Condon uses a completely different camera style covering this song and the contribution of Broadway lighting legends Jules Fisher and Peggy Eisenhauer becomes apparent, as they and his DP Tobias Schliesser and production designer John Myhre rock a simple white background on an empty theater stage. Beautiful.


Next, it’s Jamie Foxx singing “When I First Saw You” to the now Diana Rossified Deena/Beyonce. There is more magic, beyond the performance, as the number is constructed around massive photos of Deena in that 70-‘s Mahogany/Eyes of Laura Mars style that those of us old enough to remember will remember. And Sharen Davis' costumes, which are good everywhere else, are Rossian to a crossed t here.


Finally, we get the title song, “Dreamgirls,” which is set on some kind of showroom stage, the lights of which become the starlight in which our Dreamgirls will float.


That was intoxicating enough. But then, there is a brilliantly cut three-minute trailer – though it may not be a theatrical trailer at any time, though it should be – built around Jennifer Hudson singing, “One Night Only,” which you may remember, starts slow and then builds into Beyonce's/Deena's version, which sounds like a monster disco hit.


The images that flash before is in the tightly cut part are almost shocking at times, ranging from what looks like black and white to gold lame suits and some great butt bouncing to the young girls to the aging cast, from love to hate, from fun to fear.


The combination is undeniable. It’s not a Miramax slap-dash con job where all you see is a quick cut reel so you really can’t see the impact. It also doesn’t try to tell the whole story and I imagine that only a handful of people are left in the press who saw the show on Broadway all those years ago. But with four full numbers and the “trailer,” you get the breadth and the width of the film. And it couldn’t be much more exciting.


I am, no doubt, a little hungry for quality these days. And this is only a snack. But my hunger has been well sated for now. And any fears or questions I had about where this project was going have been answered in a great way. Terrific.


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Stirs Up Hollywood All The Way From Cannes




Hollywood can't stop talking about 'Dreamgirls'! 

Read all the buzz from the 20-minute screening,

including videos!


COMPLETE Coverage of 'Dreamgirls' at Cannes!

Check each

section below for the latest updates:











Minutes From The Film



Videos - Entertainment Tonight,

Access Hollywood, Extra

Last updated

5/20 3:30 p.m.


  • Entertainment Tonight

    Beyoncé Interview


  • Extra's Coverage of

    'Dreamgirls' at Cannes


  • http://dreamgirlsfans.blogspot.com

    has the video from Access Hollywood.


  • French Interview Part I


  • French Interview Part II




Reviews - Yahoo!, Fox News, David

Poland, And More


Last Updated 5/20 3:30 p.m. EST

  • David Poland's Very

    Detailed, Very Positive Review


  • Yahoo! Posts Their

    Coverage of the Festivities



  • Jeffrey Wells' Responds To

    The 'Dreamgirls' Preview


  • BroadwayWorld.com Reports

    On The Footage

    Screened at Cannes Film Festival


  • The LA Times Reviews The



  • Fox News Raves About 'Dreamgirls'

    - Even Predicting Oscars


  • The Toronto Sun Reports

    Everyong Is Going Ga-Ga- Over 'Dreamgirls'!


  • People Magazine Online

    Discusses Beyoncé's Weight-Loss


  • Reuters Reviews 'Dreamgirls'

    With A 2-Page Report


  • Anne Thompson Offers Quick

    Praise For 'Dreamgirls'


  • Entertainment Tonight's

    Written Report


  • Actor Ian McKellan Praises

    The 'Dreamgirls' Footage



    More reviews will

    be added as we find 'em.



Photos - Red Carpet & Candids



Updated 5/20 3:30 p.m. EST

  • WireImage Photos of


  • Getty Images Photos of

    Bill Condon and the cast of 'Dreamgirls'

  • WireImage Photos of Red


  • Just Jared

    Candid Photos of Beyoncé

  • A 'Dreamgirls' Blog Has

    Some Video Screen Caps and Other Pics

  • BeyonceWorld.net Has Even

    More Photos

  • This is a photo from PerezHilton.com:





Minutes From The Film


Last Updated 5/19 3:20 p.m. EST


According to a source, the content of the

footage included segments from the following

musical numbers (not in any order):


  • "Fake Your Way

    To The Top,"


  • Dressing Room

    Scene with Curtis,


  • "Family,"


  • "Dreamgirls,"


  • "When I First

    Saw You";


  • 3-minute

    Montage with Effie's then Deena's "One Night


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Beyoncé e Jamie Foxx Juntos! (04/06/2006)





Seguindo os passos de filmes como Rent e Os Produtores, ambos baseados

em musicais da Broadway, o longa Dreamgirls aposta na mesma fórmula.



Com estréia prevista para o natal nos EUA, o filme inspira-se na

história de Diana Ross e seu grupo, as Supremes, para mostrar um trio

de cantoras negras de Chicago que vão até Nova York arriscar sua sorte

no showbiz. Beyoncé Knowles, Jennifer Hudson e Anika Noni Rose

interpretam as cantoras, que no caminho encontram um empresário

ambicioso (o vencedor do Oscar Jamie Foxx), que as convence a deixar de

ser backing vocals do cantor James "Thunder" Early (Eddie Murphy) e

formar um grupo só delas.



O filme mostra a trajetória conturbada das Dreamettes, que envolve

brigas internas, problemas com as drogas e os conhecidos "jabás" das

rádios. A pesar do tom dramático, o longa promete trazer muita animação

com seus números musicais.



O filme também marca o retorno de Jamie Foxx a um filme sobre a música

e seus profissionais. Depois de sua premiada interpretação de Ray

Charles em Ray, de 2004, Foxx não terá só de cantar, mas também dançar

em Dreamgirls.



A direção e o roteiro ficam a cargo de Bill Condom, cineasta que causou

polêmica em 2004 com Kinsey, filme sobre o famoso e controverso médico

americano especialista em sexualidade.



Dreamgirls pode funcionar como trampolim para Beyoncé, bem-sucedida

cantora pop que há alguns anos vem tentando carreira no cinema, sem

muita repercussão. Seu primeiro papel foi na comédia Austin Powers e o

Homem do Membro de Ouro, de 2002. Seu mais recente filme foi o remake

de A Pantera Cor-de-Rosa, ao lado de Steve Martin.



O elenco ainda conta com Danny Glover e Keith Robinson.




Fonte: Terra


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