Chicago (2002)

Director:

Rob Marshall

Writers (WGA):

Bill Condon (screenplay)
Bob Fosse (book) ...

Release Date:

24 January 2003 (USA)

Genre:

Comedy | Crime | Drama | Musical

Tagline:

With the right song and dance, you can get away with murder.

Plot:

Murderesses Velma Kelly (a chanteuse and tease who killed her husband and sister after finding them in bed together) and Roxie Hart (who killed her boyfriend when she discovered he wasn't going to make her a star) find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.

Plot Keywords:

Murder | Fame | 1920s | Jail | Vaudeville

Awards:

Won 6 Oscars. Another 34 wins & 54 nominations

US TV Schedule:

Thur. Dec. 3

7:00 AM

AMC

Cast

Taye Diggs	...	Bandleader
Renée Zellweger	...	Roxie Hart
Cliff Saunders	...	Stage Manager
Catherine Zeta-Jones	...	Velma Kelly
Richard Gere	...	Billy Flynn
Queen Latifah	...	Matron Mama Morton
John C. Reilly	...	Amos Hart
Dominic West	...	Fred Casely
Christine Baranski	...	Mary Sunshine
Jayne Eastwood	...	Mrs. Borusewicz
Bruce Beaton	...	Police Photographer
Roman Podhora	...	Sergeant Fogarty
Colm Feore	...	Harrison
Rob Smith	...	Newspaper Photographer
Sean Wayne Doyle	...	Reporter

Also Known As:

Chicago (Germany)
Chicago: The Musical (USA) (working title)

MPAA:

Rated PG-13 for sexual content and dialogue, violence and thematic elements.

Runtime:

113 min | Turkey:80 min (TV version)

Country:

USA | Germany

Language:

English | Hungarian

Color:

Black and White | Color

Aspect Ratio:

1.85 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

USA:PG-13 (certificate #39516) | Netherlands:MG6 | Iceland:12 | Australia:M | Canada:14A (Alberta/British Columbia) | Canada:AA (Ontario) | Canada:G (Quebec) | Canada:PG (Manitoba/Nova Scotia) | Hong Kong:IIA | Singapore:M18 (re-rating) | South Korea:15 | France:U | Brazil:12 | Portugal:M/12 | Finland:K-11 | Germany:12 | Philippines:PG-13 | Singapore:PG (cut) | UK:12A (original rating) | UK:12 (video rating) (2003) | Greece:K-13

Filming Locations:

Chicago, Illinois, USA

Company:

Miramax Films

Trivia:

The 1996 smash Broadway revival renewed interest, and new names became leading candidates for starring roles, including Goldie Hawn and Madonna. Nicholas Hytner was brought in as director, and he had Wendy Wasserstein re-write Larry Gelbart's script. The project again went on hold when Madonna withdrew and Nicole Kidman chose to do Moulin Rouge! (2001) instead.

Goofs:

Continuity: When Roxie refuses Velma's money for doing her laundry, Velma puts the money down her shirt. The position of the money changes in every shot.

Quotes:

Matron Mama Morton: Sometimes you get a little success, and it's good riddance to who put you there.

Movie Connections:

Featured in The 60th Annual Golden Globe Awards (2003) (TV)

Soundtrack:

Funny Honey

Charged, exhilarating, a treat and a surprise.

I thoroughly enjoyed the current Broadway stage revival of Chicago -- the Kander and Ebb original, with Bob Fosse choreography, opened in 1975, starring Gwen Verdon (Roxie), Chita Rivera (Velma) and Jerry Orbach (Billy), all proven musical theatre talents. I saw the revival fairly early in its current run, starring Ann Reinking (Roxie), Bebe Neuwirth (Velma) and James Naughton (Billy), who are all proven in musical theatre as well.

The casting of this new film adaptation had me wondering -- Renee Zellwegger (Roxie), Catherine Zeta Jones (Velma) and Richard Gere (Billy)? Sure, they can act, but can they sing and dance?

Big time. The strength of their performances alone is almost enough to carry the film. Whether the stars come by these moves and voices easily, or were rehearsed within an inch of their lives, it's clear they come by them naturally -- they each perform their own songs, and the dance moves are both fluid and stylistically true to the Fosse choreography. Attention to choreographic integrity in this film is to be expected: director Rob Marshall is a choreographer by trade. The sizzling staging of Velma's and Roxie's "Finale" is practically a Fosse quotation from beginning to end, and is razzle-dazzling beyond the stage version, via the cinematography and editing techniques that only the film medium provides.

I was prepared for a watered-down Hollywood take on the wildly popular, 6 Tony Award-winning Broadway revival, but sans the stage talents that got it there. But I actually liked the film BETTER. The film's screenplay adaptation, by Bill Condon, fleshes out the narrative to allow an emotional connection to the characters in a way that I didn't experience in the theater. The film integrates the songs to the story by cutting between an electrifying staged rendition and the 1920's Chicago world of the narrative. This technique gives the characters space for an inner emotional life thus letting the audience better connect with them.

I did have a few quibbles. The song "Class", a personal favorite, was cut, likely to keep the momentum up as we rush toward Roxie's sensational jury trial, which delivers several musical treats of its own, and is the dramatic apogee of the story. And, while I found John C. Reilly a most pathetic but sympathetic Amos, I felt that Joel Grey evoked those qualities much more effectively in his Broadway rendition of "Mr. Cellophane."

The story, while providing an opportunity for some juicy songs and sharply funny characters, is more than just eye candy. Its portrayal of cynical manipulation of the criminal justice system by creating a celebrity-hungry media circus (the raison d'etre of Richard Gere's Billy Flynn) is more than apt today. But if there's any moralizing going on here, it's with a wink and a flash of leg. Chicago is a treat.