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Chicago
(Reviewed December 21, 2002, by James Dawson)
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Anyone worried that this adaptation of Bob Fosse's 1975 musical would cause the master to pirouette in his grave is in for a terrific surprise. That sound you hear is Fosse high-kicking the lid off his coffin to stand up and cheer!
What a great, great movie this is, easily one of the best of the year. Every song is a show-stopper, the inspired-by-Fosse choreography is thrilling, the direction is dazzling and the casting is inspired. Who knew that Catherine Zeta-Jones could be such a singin'-and-dancin' force of nature? Who would have thought that Renee Zellweger could carry the lead in a musical? And who could have imagined that Richard Gere would be so joyously unrestrained as an actor, singer and (I kid thee not) tap dancer?
A more than worthy companion piece to Fosse's masterpiece "All That Jazz," "Chicago" was flawlessly directed and choreographed by Rob Marshall, best known for helming the ABC-TV version of "Annie." Like "All That Jazz," the music numbers exist outside the reality of the story; characters sing and dance in hyper-real stage settings, as opposed to breaking into song during the actual narrative. And what settings they are! There's as much eye-popping eye-candy in this movie as in "The Two Towers" (although I can't imagine two more dissimilar movies).
Zellweger is a wannabe club singer in the roaring '20s who shoots her boyfriend but gains celebrity status after hooking up with flamboyant lawyer Gere. Zeta-Jones is another Gere client, competing for his attention and his talents.
Virtually every member of the cast is impressive. John C. Reilly, as Zellweger's overlooked patsy husband, puts so much heart and soul and sheer singing talent into his woeful "Cellophane" number that you'll never look at the guy the same way again. And Queen Latifah is terrific as Mama, the jail warden with a heart that's only interested in gold.
If you (like me) thought last year's splashy-'n'-flashy "Moulin Rouge" was flamboyant to the point of insulin shock, don't let that stop you from seeing "Chicago," which puts that fluffy bit of frou-frou to shame. If this movie doesn't sweep the Oscars, we should all stare heavenward and ask the question Roy Schneider posed in "All That Jazz": "What's the matter? Don't you like musical comedy?"
Back Row Grade: A+
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