'Dreamgirls'

It's only about five minutes in duration. But it's long enough to provide Jennifer Hudson with more than her 15 minutes of fame. In fact, her rendition of "And I am Telling You (I'm Not Going)," an explosive emotional breakdown set to music, that comes halfway through "Dreamgirls," has easily earned its spot as one of the most riveting moments - musical or not - in film history.

If that were the only thing to recommend director Bill Condon's lavish film version of the long-running Broadway musical, that would be enough. But it isn't. "Dreamgirls" is an intoxicating piece of moviemaking that recalls the giddy charm of the classic Hollywood musical format while creating its own vocabulary for the renaissance of the American movie musical.

Even when the movie falters, it does so with such class that it's hard to keep yourself from pulling for it. It's almost impossible to watch this film about the rise of a black girl group (a la the Supremes in the '60s and '70s - the same time frame as the movie) without contemplating the showbiz success stories of Hudson, Beyonc Knowles and Anika Noni Rose, who play the fictional Dreamettes. Each owes her stardom to a particular genre of the make-or-break fame game: Hudson from television, Knowles from pop music and Rose (who grew up in Bloomfield) from the theater.

And each brings an unmistakable sense of wanting to make it big - that intrinsic hunger for fame that most stars possess - to the film. "Dreamgirls" is that kind of a tale. Three girlfriends in homemade dresses and shoddy wigs show up at a talent contest and promptly lose despite the vocal power of their lead singer, Effie, played by Hudson.

Their luck turns that night, however, when a car salesman (Curtis, played by Jamie Foxx) dreaming to break into the music business, brokers a deal to have the girl group, the Dreamettes, sing backup for soul headliner James "Thunder" Early, played by Eddie Murphy. Early and the Dreamettes click, thanks in no small measure to Early's lustful interest in Lorell (Rose). After Early scores a few hits with his new backup singers, Curtis realizes he can create a new pop sound by launching the girls as their own act, the Dreams.

But not before making Knowles' character, Deena, the group's lead singer - a staggering blow to Effie, whose voice is described as "too special" for a crossover audience. Effie's a born diva. She tries to play nice but soon watches Curtis' affection for her transferred to Deena.

The Dreams find international fame, but it comes at a high price for Effie. Unable to control her anger and resentment, she makes trouble for the Dreams and soon finds herself out of a job in the cruelest way. She lashes out in the show-stopping "And I Am Telling You," a vocal tour de force that will leave moviegoers devastated.

The first half of "Dreamgirls" moves at a breathless, breakneck pace. The camera is constantly in motion, a homage to the ever-moving light towers that gave the original Broadway production its marvelously cinematic feel. Condon has packed the film with delicious imagery and staged the Dreams' production numbers with glossy panache.

If the second half of "Dreamgirls" lags, it's only because it has so many story lines to tie up: Deena's rocket to solo stardom, Effie's inevitable comeback, Early's self destruction, Curtis' karmic payback. Everyone involved in the Dreams tastes fame's sweet nectar but also swallows heartbreak's bitter pill. Condon and has team have crafted a musical with loving hands.

And, unfortunately, kid gloves. Foxx, a newly minted Oscar winner, plays Curtis with a single note, all glare and seething manipulation. Knowles, ravishing to look at, reads Deena with little depth, although she saves her "Dreamgirls" reputation with her blazing performance of "Listen.

" Like "Chicago," the movie musical it is being compared to, "Dreamgirls" had to overcome stage-to-screen obstacles. Condon wrote the "Chicago" screenplay for director Rob Marshall, who devised an ingenious way to tell the story of showbiz-hungry, gun-happy molls. Condon had his own hurdles to clear in presenting a nearly sung-through theatrical production (and one that has fiercely loyal fans as protectors) in a format not well-suited to sung dialogue.

So he turned some of the musical dialogue into spoken dialogue for the sake of clear exposition. Maybe he should have trusted the audience more. All you need to hear is Hudson sing a stinging retribution when she gets the upper hand on Curtis to know that sung dialogue can work magic.

Condon stages an agonizing fight that precipitates Effie's ouster with stunning precision. Sung entirely, it is deeply effective, proving that the show's musical narrative was superbly conceived. If the movie belongs to anyone, it's not the above-the-title stars Foxx, Knowles or Murphy.

It belongs to Hudson, who turns in an unforgettable performance full of moments of tender simplicity and electrifying brilliance. When she sings these lines from the film's title song, "Every man has his own special dream, and your dream's just about to come true," believe it. This is a dream fully and gorgeously realized.

DREAMGIRLS, directed by Bill Condon, written by Condon and Tom E songs by Eyen and Henry Krieger, except for one by Krieger, and one by Krieger and Willie Reale. A DreamWorks/Paramount production; 131 minutes. Rated PG-13 for language, some sexuality and drug content.

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