Diana Ross climbs to fame, from a dressmaking factory in the Chicago slums to the international fashion scene in Rome, while Billy Dee Williams supplies the nagging voice of conscience, stays home, wears bluejeans, talks on streetcorners through a bullhorn, and toils tirelessly for the betterment of His People. This isn't really any more socially conscious than a Douglas Sirk soap opera, nor is its social consciousness, such as it is, any more trustworthy. And even though Berry Gordy's novice directing suggests he has studied a few movies, he doesn't fully understand how to make one of these movies like they used to: the color image by David Watkins is frequently messy and faded, like a patchwork of stripped-away posters on a brick wall; and the costumes, designed by Diana Ross herself, a brave woman, are supposed to make a big splash on the fashion market ("the kabuki look"), but they sting your eye as if they're out of an eyedropper. With Tony Perkins, Jean-Pierre Aumont. (1975) — Duncan Shepherd
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