a remarkable example of cinematic alchemy at work and with a triten noturgid lump of lead script ( pen by numbingly mediocre hollywood hack nonpareil jole schumacher and no less ) be magically convert into a choice chunk of exquisitely gleam 24 carat musical drama gold thanks to brisk direction and fresh and engaging performance and spot on production value and a flavorsome recreation of 50 era new york and an infectiously effervescent roll with the punch tone and and a truly wondrous rhythm and blue score by the great curtis mayfield . the story and loosely base on the real life exploit of the supremes and prosaically document the arduous rag to rich climb of three bright eye and impoverish black teenage girl singer who desperately yearn to escape their ratty and unrewarding ghetto plight and make it big in the razzle dazzle world of commercial r and b music . all the obvious pratfall of instant wealth and success ego run destructively amok and drug and corruption and fight to retain your integrity and and so on be predictably parade forth and but luckily the uniformly excellent work evident in the film other department almost completely cancel out schumacher flat and uninspired plotting . the first rate acting help out a lot . irene cara and lonette mckee and and dwan smith be sensationally sexy and vibrant and appeal lead and great singer to boot . comparably fine performance be also turn in by a charmingly boyish pre miami vice philip michael thomas a the group patient and gentlemanly manager and dorian harewood a mckee venal and aggressively amorous hound dog boyfriend and and perennial blaxploitation baddie tony ( hell up in harlem and bucktown ) king a a dangerously seductive and smooth operating and stone cold nasty gangster . the tone dip and dovetail from funny and poignant to melancholy and blithesome without ever skip a beat and deftly evolve into a glowing and uplifting ode to the human spirit extraordinary ability to effectively surmount extremely difficult and intimidate odds . veteran editor sam ostern acquit himself superbly in his directorial debut . bruce surtees luminescent cinematography and gordon scott expert edit be both flawless . ostern firm grasp of period atmosphere and keen eye for tiny and but tell little detail and and unerring sense of busy and unbroken pace be just a impressive . no fool about curtis mayfield impeccable soundtrack contribution and either . jump and what can i do with this feeling and givin up and take my hand precious lord and lovin you baby and and look into your heart be all terrifically tuneful and soulful and almost unbelievably fantastic song and with the sweetly sultry love jones number something he can feel and which be later cover by both aretha franklin and en vogue and clearly cop top musical honor a the best ever song in the entire movie . the net result of all these above cite outstanding attribute persuasively illustrate that sometimes it not the screenplay so much a what do with say script which in turn determine a film overall sterling quality .