Dream Girls Naked On
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Tom Eyen (based on the original broadway production book by) Bill Condon (screenplay)
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Tom Eyen (based on the original broadway production book by) Bill Condon (screenplay)
Detroit, the early 1960s. Curtis Taylor, Jr., a car salesman, breaks into the music business with big dreams. He signs a trio of young women, the Dreamettes, gets them a job backing an R&B performer, James "Thunder" Early, establishes his own record label and starts wheeling and dealing. When Early flames out, Curtis makes the Dreamettes into headliners as the Dreams, but not before demoting their hefty big-voiced lead singer, Effie White, and putting the softer-voiced looker, Deena Jones, in front. Soon after, he fires Effie, sends her into a life of proud poverty, and takes Deena and the Dreams to the top. How long can Curtis stay there, and will Effie ever get her due? —
Rated PG-13 for language, some sexuality and drug content
The film, and the original Broadway musical, are based heavily on The Supremes (later known as " Diana Ross & The Supremes"). Curtis Taylor, Jr. represents Motown Founder Berry Gordy . Both men worked in the automotive industry before focusing on music, and integrated aspects of the automotive business into the music making process. Both were romantically involved with the lead singer of their label's most successful female group. Effie's departure from the group closely matches Florence Ballard , whose voice was much more powerful than Ross's.
When Deena and the girls perform the disco version of 'One Night Only', the stage backdrop is made up of computerized moving head lights, which didn't exist at the time.
The film begins immediately after the distribution studio logos, with no opening titles/credits of any kind.
In 2017, Paramount released a "Director's Extended Edition" of "Dreamgirls." This version runs ten minutes longer than the theatrical version and contains changes which include the following:
The opening talent show scene has extended performances of "I'm Looking' for Something'" and "Goin' Downtown," including a longer scene on the stairs outside the Detroit Theater, where Curtis offers Marty a cigarette and a sales pitch after Charlene and Joanne walk out on him, and Curtis catches a first glimpse of Deena Sung dialogue leading up to "Steppin' to the Bad Side" ("You've got me to think for you now...") proceeds the scene in which Curtis tells Wayne and CC of his plan to sell off the car dealership, similar to the lead-up to the song in the original Broadway show. This scene takes the place of the shorter, spoken word alternate version used in the theatrical version All shots of Wayne enacting Curtis' payload plans at radio stations are replaced with scenes of the Mafia members Curtis makes a deal with distributing the records and the money The Jimmy & the Dreamettes performance section go "Steppin to the Bad Side" is extended "Love You I Do" is extended by adding an instrumental break under the scene in which Michelle gets a job at Rainbow Records, and then showing Effie sing the song's second verse on camera "Heavy" is extended by adding a break and a chorus, and placing more emphasis on Effie keeping an eye on Deena's image taking over the TV studio monitors There is an extra shot of Curtis and Deena's mansion as Deena heads to the service car outside An extra scene shows Curtis, C.C., Wayne and other Rainbow executives at a board meeting, at which Curtis decides to finance his "Cleopatra" film pet project with a 10th anniversary special (This scene includes two F-bombs by Jamie Foxx; the Director's Extended Edition is unrated as a result) "Patience" is extended by adding extra choruses to the section in which Jimmy and Lorrell record the song, accompanied by a choir "Perfect World" is extended by including a full verse and chorus "I Meant You No Harm" and "Lorrell Loves Jimmy" are both extended by a few bars Jimmy's silent glare at Deena basking in her fame at the Rainbow 10th anniversary TV special is replaced by sung dialogue ("Because I was here long before you...") similar to the "Firing of Jimmy" scene in the original Broadway show "I Miss You, Old Friend" is extended by a few bars "Effie, Sing My Song" - sung dialogue in which C.C. and Effie reconcile - is added in place of the spoken word alternate version used in the theatrical version "One Night Only" is performed in full (only half is used in the theatrical version). At the conclusion of the song, Curtis' Mafia associates come to Effie's performance in Max Washington's bar, which is how they get word (and a tape) to alert Curtis Curtis has an extra line of dialogue when being interviewed on the Dreams' farewell performance red carpet, in which he announces that his new artist, Tania Williams, will be releasing her debut album in a month
I'm Looking for Something Written by Henry Krieger and Tom Eyen Performed by Maxi Anderson , Charlene Carmen, and Keisha Heely Produced by The Underdogs ( Harvey Mason Jr. and Damon Thomas ) Published by Dreamgirls Music (ASCAP) admin. by Universal-Geffen Music and Dreamettes Music (BMI) admin. by Universal-Geffen Music
You have only two first choices in making a movie musical; you can preserve its stage nature, or decide at the first to make a movie, something that has a cinematic sense. I like musical presentation and all; I like theater and the contact of performance. Its all fine, but what really transports me is what I think of as opera in the modern sense. Its that multiple delivery of sense, primarily through sweeping enveloping visual grammar, supplemented by coordinated threads: text, narrative, music, emotional and intellectual. "Moulin Rouge" is my gold standard, born as a child of film, deeply reflexive. Chicago was less coherent some of its cinematic collage really was just chop, but even then they eye needs rhythm and "Chicago" delivered. That film also had something this has only in certain places: sweat if not blood. We knew that Zellweger and Zeta-Jones are uninteresting people, and the songs manufactured emotionally (as opposed to say, blues songs from someone blue). But we saw them work their guts out. This is an odd, odd thing musically. Start with genuine R&B, sung in Detroit basements and school auditoriums. Now transform that for the market, initially black showgoers. Now transform it again for a similar record-buying public. Again for white recordbuyers (where, incidentally I found myself in the late sixties), and then again for TeeVee watchers (and with added glamor, Las Vegas). Let that steep for fifteen years, all becoming a joke, then transform it again for the Broadway stage. By this time, any performance related to this collection of genres cannot be genuine in any way, merely a commentary. The performers may be black, but its as far removed from what it pretends to be as a scene in this film depicts: a white teen along the lines of Johnny Vee covering a black song. Its not a matter of how good the singer is, even the earnest Hudson who gets the applause here. Its a matter of market forces: art is brought to us by market forces and those forces bend, filter, bleach. Now take that stage show, based on a story about just this: how mass music MUST be untrue take that stage musical and transform it one more time, and you'll have this. That's six generations from where this music meant something to what it is before it hits our ears. The only thing that can justify this is the full bore experience. The stage show delivered it in spades, because it used extraordinary stagecraft. It was to the stage musical what "Moulin Rouge" was to the film musical: the vocabulary stretched to its most colorful (read: moving) excess. Where's that excess here? There are three (three?) moments where a rehearsal sweeps around and you find yourself on stage. Once done well would have been enough, these aren't. One character in this needs to be the white space, the root of the thing in terms of values. Maybe it could have been the avuncular manager (Glover) or the silent Dad, or the child. But no one is given the nail. One song at least needs to be performed as genuine. Yes, Hudson's number brings down the house. But it is so overproduced and overstaged its clear it is merely dare I say it? a show by a woman trying hard to have a career, not a woman who actually lives in her song. At least "Hustle and Flow" was obviously dishonest. Oh well. Seeing Eddie Murphy do James Brown just before the man is buried meant something to me. Its an homage of sorts. Ted's Evaluation -- 2 of 3: Has some interesting elements.
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A trio of black female soul singers cross over to the pop charts in the early 1960s, facing their own personal struggles along the way. A trio of black female soul singers cross over to the pop charts in the early 1960s, facing their own personal struggles along the way. A trio of black female soul singers cross over to the pop charts in the early 1960s, facing their own personal struggles along the way.
Curtis Taylor Jr. : Who was the first artist to sing "Hound Dog"?
Curtis Taylor Jr. : Big Mama Thorton. She had the number-one single on the R&B charts, but the white stations wouldn't play it, because to them it was just another race record.
THE inside of the Dubai apartment that hosted a photoshoot featuring 40 nude models has been revealed.
The women, who are mainly from Ukraine, are facing up to six months' jail after being arrested when the footage of the shoot went viral.
Do you know those involved? Call The Sun Online news desk on +44 (0) 207 782 4368 or email tariq.tahir@thesun.co.uk
Dubai police said they arrested a “group of people who appeared in an indecent video” on charges of public debauchery.
Videos and photographs showing the naked women, lined up on a balcony while being filmed, began circulating on social media on Saturday evening.
Pictures have now emerged showing the models lined up inside the apartment, in the city's upmarket Marina neighbourhood.
They are also seen from inside posing on the balcony in full view of the city.
As well as jail, those involved face fine of around £1,000 for violating public decency laws in the United Arab Emirates.
All of the models are understood to be from the ex-Soviet Union including Ukraine, Belarus and Moldova.
There has been speculation that the women were involved in a shoot for an Israeli version of an unidentified US adult website.
A Russian man has also been detained and named as the organiser of the “lewd” shoot.
He is understood to claim he was in a nearby apartment and had filmed the spectacle showing the naked women.
TASS news agency later cited the Russian consul in Dubai as saying that a Russian man was being held in connection with the incident.
But a consulate source told Russian media outlet LIFE that no Russian women had been detained.
It cited a consulate source as saying: "According to the latest data received from the police of the Emirates, there are no Russian women among the detained.
“A Russian man was detained. According to the police, they suspect him of being one of those who sponsored the entire event."
State-linked newspaper The National reported it appeared to be a publicity stunt, without elaborating.
It came as a shock in the UAE where tamer behaviour, like kissing in public or drinking alcohol without a license, has landed people in jail.
Dubai police said those arrested over the indecent video have been referred to public prosecutors.
The UAE's public decency laws, which cover nudity and other 'lewd behaviour', carry penalties of up to six months in prison and a 5,000 dirham (£983) fine.
The sharing of pornographic material is also punishable with prison time and a fine of up to 500,000 dirhams under the country's laws, which are based on Islamic law, or Shariah.
The pictures came as a shock in the federation of seven Arab sheikhdoms, where tamer behaviour - like kissing in public or drinking alcohol without a licence - has landed people in jail.
Any person who lives in or visits the UAE is subject to its laws and there are no exceptions for tourists.
2017, a British woman was sentenced to one year in prison for having consensual sex with a man she wasn't married to.
“Such unacceptable behaviours do not reflect the values and ethics of Emirati society,” said police in a statement.
The UAE, while liberal in many regards compared to its Middle Eastern neighbours, has strict laws governing expression and social media.
People have been jailed for their comments and videos online.
The country's majority state-owned telecom companies block access to major pornographic websites.
Dubai also has strict social media laws that make it an offence to insult others or even use language where people feel insulted.
The laws also forbid anything “defamatory” against the UAE and this can even include the reporting of a news article.
A woman from Surrey, Laleh Shahravesh , 55, is facing jail for calling her Dubai-based ex-husband an “idiot” and his new wife “a horse” under the Gulf state’s draconian social media laws.
Those who’ve fallen foul of the laws in the past include a Brit Yaseen Killick, jailed after venting anger on WhatsApp after being sold a car that broke down.
US fitness professional Jordan Branford was slapped with a nearly £60,000 fine after using the word “bitch” on Instagram, which his ex-wife believed was referring to her.
Glitzy Dubai has been in the headlines after reality TV stars and social media influencers flouted lockdown rules to sun themselves on its beaches.
Earlier this year they were still promoting parties there even after a coronavirus spike forced all pubs and bars to shut.
But critics have slammed so-called influencers for not doing proper work – insisting they should not be travelling abroad while the majority of Brits are locked down at home.
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