Winner of 6
Academy Awards
including
BEST PICTURE



Renée Zellweger....Roxie
Catherine Zeta-Jones....Velma
Richard Gere....Billy
Queen Latifah....Matron 'Mama' Morton
John C. Reilly....Amos Hart
Lucy Liu....Go-To-Hell Kitty
Christine Baranski....Mary Sunshine

Deidre Goodwin....June
Denise Faye....Annie
Mya....Mona
Susan Misner....Liz
Taye Diggs....The Band Leader
Deirdre Goodwin....Liz
Sebastian Lacause....Aaron
Dominic West...Fred Caseley
Colm Feore....Harrison
Patrick Salvagna....News Boy
Marc Calamia....Hunyank's Husband
Mary Ann Lamb....Dancer
And an appearance by
Chita Rivera

Directed by
Rob Marshall

Fred Ebb....lyricist
John Kander....songs
Ann Reinking....choreographer

Writing credits
Bill Condon & Fred Ebb

Produced by
Don Carmody....co-producer
Neil Meron & Craig Zadan....executive producer
Marty Richards & Harvey Weinstein....producer

Cinematography by
Dion Beebe

Casting by
Ali Farrell, Tina Gerussi, Laura Rosenthal

Production Design by
John Myhre

Art Direction by
Andrew M. Stearn

Set Decoration by
Gordon Sim

Costume Design by
Colleen Atwood

 

 

Overture

Through the eyes of a murderess.

5.. 6.. 7.. 8.. The Onyx Club. A jazz show club in Chicago. The booze is flowing and the band is hot. It's only gonna get hotter as nobody can find the featured act, Veronica and Velma -"The Kelly Sisters". Eventually, Velma arrives without Veronica (She's not herself tonight). Velma scurries to prepare for the performance, checking her hair and makeup, putting on her costume, hiding her gun, and washing blood off of her hands. The management is concerned because the audience paid to see a sister act.

"Don't sweat it, I can do it alone."

What appears to be frenetic camera work and editing amongst the confusion of an active showplace is actually a superbly conceived opening. It engulfs the viewer in the world where they are gonna spend the next 2 hours. And the streetwise Velma Kelly, fresh from a murder spree, prepares to do her sister act. alone.



ALL
THAT
JAZZ

...And boy can she do it alone.

Velma takes to the stage and easily seduces the audience with her performance. Amongst the crowd is Roxie Hart, a wandering wife who longs for the spotlight that Velma commands. While Velma performs, Roxie is swept away by her scheming boyfriend, Fred Caseley, who fills her head with dreams of stardom.

As Velma finishes her number, a few of Chicago's finest enter the club, apparently interested in her handiwork offstage.

Any doubts about Catherine Zeta-Jones taking on the role of Velma are buried deep shortly after this number begins. The camera loves her and between the masterful cinematography, blocking and direction, the audience is enrolled as well. She received an Academy Award for her portrayal. The number itself puts the finishing touches on the world of CHICAGO, a world were sex and deceit operate to a jazz rhythm. Since most of the songs in the film are performed inside of Roxie's mind, it is important to note that ALL THAT JAZZ is a practical one, meaning it is actually performed on a stage. But it does introduce the dream sequence concept as Roxie momentarily imagines herself in Velma's place.

FUNNY
HONEY

"For her first number, Miss Roxie Hart would like to sing a song of love and devotion dedicated to her dear husband Amos."

After Fred Caseley tells Roxie he can't help advance her stage career, Roxie plugs him. Later, when the police come to investigate, her husband takes the blame for the murder. But, while Roxie is considering his devotion.

"Lord knows he ain't got the smarts."

...The victim is identified as someone Roxie knows. Amos feels betrayed and drops the charade. He tells the truth the best he knows it. which certainly doesn't help Roxie.

After the stage performance of ALL THAT JAZZ, we are introduced to the first 'dream sequence' number and also Roxie's first solo (Renée Zellweger). During the police interrogation, the detective shines his flashlight on her face. That is all the spotlight she needed. In the grandest of showbiz traditions, she sings the torch song while atop the piano. The dream sequence concept is now fully established and it works terrifically, especially as it is often contrasted with the stark reality of Chicago.

When Amos (Wonderful John C Reilly) realizes the truth and starts to squeal to the cops, he takes his place on the dream stage near the exasperated Roxie.



WHEN
YOU'RE GOOD
TO MAMA

So, Roxie is taken to the Cook County Prison. During her brief orientation she meets the keeper of the keys. the mistress of murderess row, Mama Morton who states the law to getting by. Be good to Mama and she can make things happen.

Queen Latifah (Mama Morton) gives a great performance throughout this film and her solo number is a great introduction. It also helps having Chita Rivera (The Original Broadway Velma) make Mama's initial introduction. Director Rob Marshall again does excellent work mixing the real and dream sequences but this number carries necessary exposition. So, even with Latifah in Oscar worthy form, the number is one of the least memorable.

Queen Latifah was indeed nominated for an Oscar but was beaten by Chicago-mate Catherine Zeta-Jones.



CELLBLOCK
TANGO

"And now, the six merry murderesses of the Cook County Jail in their rendition of the Cell Block Tango"

It's Roxie's first night sleeping in a cell and the sounds of the prison introduce the murder stories of the other tenants of the jail.

This number alone is worth the price of admission. The dripping of a faucet. the drumming of fingertips. the stomping of boots on the metal floor. these sounds Roxie into a theatrical wonder where the death row women stylistically tell their bloody side of the story. A mixture of wonderful lighting and photography, superior performances, sharp choreography and occasional contrasts with the reality of prison make this number totally mesmerizing.


ALL I
CARE ABOUT

We want Billy.. B. I. Double L. Y.

When Your Good to Mama Morton, Mama Morton is good to you. Roxie sure hopes that is true as she allows herself to be represented by Billy Flynn, an attorney who has never lost a case when representing a female client.

All the talk of Flynn's"All I Care About is Love" attitude is dashed when he demands $5,000 to represent the killer chorine, Roxie.

One of the most surreal moments in my life has to be when I put into print an enthusiastic and glowing report on something Richard Gere has done. Not that he hasn't put in other good performances, just that his role choices usually grace the video jackets of films I quite often avoid. But, here he is as Billy Flynn, the singing, dancing smooth-talker that helps Roxie and Velma achieve their freedom.

The filmmakers utilize this number well. the song is performed with Flynn dressed as a shoeshine boy surrounded by scantly clad girls. In song, his soul care is love and strips down to his boxers for the burlesque finale. Interspersed throughout the number, we see the true Billy Flynn - An ambulance Chaser with an eye for the good and expensive things in life.

Gere may not be a dancer, but it hardly matters. The bevy of girls surround him with movement which, along with some excellent cinematography, lighting and glitter, masks any obvious slip-ups.

Richard Gere was awarded a Golden Globe for his role in CHICAGO.


WE BOTH
REACHED FOR
THE GUN

Roxie's husband Amos comes through with enough money to appease Mister Flynn. And so, after a make-over worthy of a movie star, Roxie is paraded in front of the press who will play a large part in her future. But at her side to help her handle any questions is her silver-tongued lawyer. Here he.. err.. she explains the defense.. that they both reached for the gun.

"Quiet Dummy.."

Like the stage production, this number is done as a ventriloquist's act.. Roxie a dummy under Flynn's total control. Both Zellweger and Gere make this number very funny. Yet, it is the addition of the press controlled by Flynn using marionette strings that take the film into a different area. The message is very clear even early on. It might even go a bit too far. By the time the 'puppet' press is flying across the stage on wires, I for only the second time remembered I was in the theatre watching a flick. But, with a great film like this, I'll take the minor complaint.

 

ROXIE

In a prophetic conversation, Mama Morton tells Roxie she can have a vaudeville career solely on the fact that she was a murderess. Roxie has always longed to be on the stage and this prophecy suits her just fine..

Renée Zellweger was given a Golden Globe for Best Actress and an Oscar Nomination as well. (She was beaten by Nicole Kidman) This number could easily have secured both. The number is done 'at one' with the audience. Roxie, in a tight form fitting outfit is alone in front of a pitch black background. She scats dialogue over a repetitive musical message. Her words sum up what we have seen to this point. When she finally breaks into song, angled mirrors extend her across the width of the screen. Eventually, all those reflections are replaced by a whole chorus of 'boys' with no other purpose then to keep Roxie a shining star. By the time Zellweger is lying prone on a humongous neon "Roxie" sign, the spell has been cast.


I CAN'T
DO IT
ALONE

With all the attention being paid to Roxie, the former star of murderess row has resorted to desperate measures. Now matter how much she hates to admit it, she needs help to again grab a small piece of the spotlight. For the first time, she finds Roxie and tries to make nice with her. then she proposes they team up on an act. With this song, she tries to recreate the double-acts big number.. but, she can't do it alone.

Catherine Zeta-Jones was given a well-deserved Oscar for her role in Chicago. After her breathtaking "All That Jazz", this number could solidify her a little gold man. Much of her work in this film involves extreme choreography, much of which would exhaust the average human being.. And with the wonderful direction and movement, any inconsistencies are lost.


MISTER
CELLOPHANE

Stop the Presses! the town of Chicago is on its knees after a new murderess takes out her unfaithful boyfriend and his two tarts. "Go to Hell Kitty", as she is comfortably known grabs the hearts and minds of the town. Roxie loses the press' attention because of this new shooter. In brilliant split-second thinking, Roxie collapses to the ground. In the brief moment she has everyone's attention she claims to be pregnant. With a hypothetical bun in the oven, all attention is now firmly back on Roxie and her plan can continue.

Her attorney Billy Flynn adds a new element to the trial when he manipulates Roxie's husband Andy..

"Amos... My name is Amos..."

Sorry, Flynn convinces her husband Amos to divorce her (Which will of course make Roxie even more 'the Victim').

Amos agrees to Flynn's plan but also realizes that she probably wouldn't notice if he did divorce her. He considers his life.

Between "I Can't Do It Alone" and "Mister Cellophane" is a large chunk of exposition, mostly centered on the arrival of the new hot-headed murderess, "Go to Hell Kitty" (Played by Lucy Liu). But, the invention of the baby brings us back into story (and it brings Velma into a state of jealous disbelief. Why didn't she think of a baby.)

John C Reilly received a Supporting Actor Oscar nomination for his portrayal of Amos but was beaten by Chris Cooper for his role in Adaptation. His solo number, a true baggy-pants number certainly exhibits why he deserves the accolade. With movement and choreography similar to the stage production, this short distraction is pretty brilliant.. and a stark contrast of what is to come...

"You still here, Andy?"

 

RAZZLE
DAZZLE

Roxie's journey seems to be going well, and she is convinced that she is solely responsible for the success. She fires her attorney Billy Flynn over a dress to be worn while on the stand.

There is a shake-up on Murderess' row as one of their own loses her final appeal and is hanged. With a fresh concern for her life, Roxie reinstates Flynn and agrees to follow his lead. With that, he promises her great odds as she is working with the best. Someone who realizes the courtroom is nothing but a 3-ringed circus.

Flynn calls Roxie's divorcing husband to the stand and in a bit of premeditated manipulation forces Amos to back-off the divorce. Amos leaves the stand apologizing to his wife. The press eats it up and Roxie is next called to the stand.

A 3-Ringed Circus is what we get. The screen is filled with color, light and gorgeous scantily clad bodies as Flynn does his magic in the courtroom. Gere again does an excellent job in his role as 'ringmaster'.

"Though you are stiffer then a girder,
They'll let you get away with murder."

 

A Tap Dance

The trial seems to be a doubtless success for Roxie and Flynn when the Prosecution pulls a surprise witness. Velma Kelly takes the stand with Roxie's Secret Diary in her hand. She reads Roxie's words and the mood of the trial takes a huge swing. When it is Flynn's turn to question Velma, he does a verbal tap-dance around the issue until he finds his out.

With some excellent dialogue and courtroom intrigue, this is pretty rewarding. Yes, Gere does do a load of tap-dancing throughout and does a credible job. He does get credit for a load of practicing and execution, but it is the filmmakers directing and editing that make the act professional. Only experienced dancers will see through he facade.

With the diary out of the way, Roxie is found Innocent and released...

 



NOWADAYS

...Before the uproar surrounding the verdict can die down, a woman shoots her husband and attorney in front of the courthouse. This leaves Roxie a free woman with no press attention. Again Unknown, she tries to capture her murderess' row popularity by auditioning at theatres throughout town, but nothing takes...

In the last of the dream sequence musical numbers, Zellweger appears in a form fitting black gown and sings her 11 O'Clock number. Halfway through the song, we are back in reality. She is on a skimpy stage singing her number to an out-of-tune upright piano in front of some very uninterested promoters.


NOWADAYS
FINALE

Velma Kelly again approaches Roxie about teaming up into a double act. Roxie initially declines because of the girls hatred for each other.

"There's only one business in the world where that's no problem at all."

The girls take o the stage of the Chicago theatre in front of a sold out crowd and end their story as a big success.

Zeta-Jones and Zellweger take to the stage wrapped in matching minks. ut the song doesn't kick up a notch until the remove them. Here, with some tremendous camera movement and production value, they accomplish what I had been unable to see in any professional or community stage production. A semblance of unison in movement. It's an exciting payoff and a great way to send out the film.


I MOVE ON

This song was originally written for the stage show but never made it into the show. So now, it is eligible for Oscar Consideration and it indeed was given a nomination. It plays over the closing credits and is performed by Catherina Zeta-Jones and Renée Zellweger.

 

LOVE IS
A CRIME

This new song was recorded by Anastacia and also plays over the closing credits.

 

(Cut Song)
CLASS

Mama Morton and Velma Kelly exchange thoughts on the lack of class in today's people.

This song was cut from the film version of Chicago. All the musical numbers were either conjured up in Roxie's mind or performed in a real theatrical setting. this song could not work in either setting. But, it was filmed and may be restored when it makes its DVD premiere. the people most effected by the cut are definitely Catherine Zeta-Jones and Queen Latifah. Having just one more number for both could help in their quest for Oscar Gold...

 

After a couple of decades in development, CHICAGO finally completes the journey from stage to screen. Among the many delays included the difficult job of making such a theatrically conceptual show work on celluloid. In fact, the shows creator Bob Fosse worked unsuccessfully in making it happen himself. He did eventually give up. As the story goes, many years later he did come up with a solution and tried to put CHICAGO the movie back on track, but he died before he could properly explain the concept.

Enter Rob Marshall. He was asked my MIRAMAX pictures to come in and talk about a movie version of RENT. He was a natural for the film as he was awarded a tony for his direction of the recent revival of CABARET and had received critical acclaim for his movie version of ANNIE done for the folks at Disney. On Marshall's RENT interview he instead pitched his concept for CHICAGO which we now see onscreen.

This concept addressed a common concern about Movie Musicals. On stage, when a musical number ends, the audience applauds, which carries the story on. When watching a movie musical on film, the audience rarely applauds which often leaves an awkward silence. So, Marshall took a clue from the film version of CABARET (Directed by Bob Fosse) and placed many of the numbers in a 'dream sequence' Cabaret setting. Now he had an audience when he needed it.

Even after Marshall was on board the show was suffering.. there were castings that fell through. At one point Goldie Hawn was to take on Roxie with Madonna as her Velma. John Travolta as Flynn? Britney Spears in a role? the final cast had an extremely positive effect on the film, with most acknowledged with Golden Globe and or Oscar nominations.

Some of the songs were cut in the transfer. "A Little Bit of Good", "I know a girl","Me and my baby" and "My own best friend" will never be seen while "Class" was filmed but cut from the final edit. That may be available as a 'bonus" or reincorporated into the film when it makes an appearance on DVD. With the many cut songs, the film was able to put more focus on 'reality'. This is very well done by the screenwriters as they juggle the 2 worlds. In my opinion it is an Oscar Worthy Screen Adaptation.

The marketing campaign for the film was pretty interesting. A classy triple set of posters and a very dramatic trailer where released. Both downplay the musical aspect altogether. This may support the idea that Director Rob Marshall put forth. They also gave the film a very limited early release and let word of mouth introduce it to the country. That plan worked like a charm as Chicago was nominated for 13 Oscars... Winning six of them:

BEST PICTURE
BEST SUPPORTING ACTRESS (Zeta Jones)
BEST EDITING
BEST ART DIRECTION
BEST COSTUME DESIGN and
BEST SOUND

Of other note is the great musical score created by Danny Elfman which is given 2 tracks on the soundtrack album. But the soundtrack album also includes an extra 'hip-hop' recording of the Cell Block Tango that is better left unsung. Oh, well. i guess they're in it for the money.

Actor Supporting Role - John C. Reilly
Actress Leading Role - Renée Zellweger
Actress Supporting Role - Queen Latifah
Actress Supporting Role - Catherine Zeta-Jones
Art Direction
Cinematography
Costume Design
Directing
Film Editing
Best Picture
Best Song "I Move On"
Sound
Writing (Adapted Screenplay)



To discuss the musical CHICAGO ,suggest
another musical, or just to chat,
email Glenn here


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