Much of a good film’s work is done before the director says, “Action!” In Bill Condon’s case, the work starts even earlier.

Condon, the director of 1998’s “Gods and Monsters” and 2006’s “Dreamgirls,” also penned the screenplays for each, earning an Oscar for his extraordinary work on “Gods and Monsters.”

But these films about 20th century America were largely missed by White America – perhaps because neither is aimed at us. Or are they?

Both films are, more or less, bull’s-eyes, and each tells a story about outsiders trying to muscle in on some degree of success.

Condon the screenwriter adapts the off-kilter material from other media, carefully crafting human beings who only find happiness when lies are avoided and honesty is espoused.

And Condon the director, at least with these two films, clearly fosters a comfortable atmosphere on his movie sets, drawing remarkable performances from the characters he’s lovingly created.

In “Gods and Monsters,” Condon’s focus is narrow. Three characters – Ian McKellen’s Oscar-nominated homosexual has-been movie director, Brendan Fraser’s straightforward U.S. Marine-turned-gardener and the brilliant Lynn Redgrave’s seen-itall maid – come to new understandings of their true social underpinnings.

“Dreamgirls,” a musical, is bold and loud. Here, Condon not so much broadens as loosens his lens, giving viewers an alternately penetrating and shallow look at women and men who hide behind, embrace and, in some cases, overcome falsehoods.

The film is not as effective as “Gods and Monsters” on a consistent basis, but it is remarkably affecting at times, courtesy of some strong performances.

Specifically, Oscar-winning Jennifer Hudson is impressive; imagine Aretha Franklin in “The Blues Brothers,” only with a meatier part and far superior script. Include Eddie Murphy’s substantive, Oscar-nominated effort, and you’re looking at and listening to two-plus hours of choppy but enjoyable film.

However, the real star of both movies is Condon, who has tried – with varying degrees of box office and critical success – to hold a mirror up to the (usually White) faces of America’s recent past and tell honest narratives about uncomfortable, even taboo subjects; 2004’s “Kinsey” is another example.

Condon skillfully brings questions of class, sex and sexuality, as well as specific stories of struggle within each subset, to our attention. Freedom is his answer in every case.

These closeted subjects earn R ratings for “Gods and Monsters” and “Kinsey” and PG-13 for “Dreamgirls.”

The often sophisticated subject matter of each requires parental direction – and begs for post-film discussion.