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Chicago (2002)

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Ratings: 7.2/10 from 148,855 users   Metascore: 82/100
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Murderesses Velma Kelly and Roxie Hart find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.

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Title: Chicago (2002)

Chicago (2002) on IMDb 7.2/10

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Won 6 Oscars. Another 50 wins & 84 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Cliff Saunders ...
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Bruce Beaton ...
Roman Podhora ...
...
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Robert Smith ...
Newspaper Photographer (as Rob Smith)
Sean Wayne Doyle ...
Reporter
Steve Behal ...
Prison Clerk
Robbie Rox ...
Prison Guard
...
Nickie
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Storyline

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. Written by Debpp322

Plot Summary | Add Synopsis

Plot Keywords:

murder | fame | vaudeville | jail | 1920s | See All (99) »

Taglines:

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

Genres:

Comedy | Crime | Musical

Motion Picture Rating (MPAA)

Rated PG-13 for sexual content and dialogue, violence and thematic elements | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

|

Country:

| |

Language:

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Release Date:

24 January 2003 (USA)  »

Also Known As:

Chicago: The Musical  »

Filming Locations:

 »

Box Office

Budget:

$45,000,000 (estimated)

Opening Weekend:

$929,809 (Japan) (18 April 2003)

Gross:

$170,684,505 (USA) (29 August 2003)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

(mock newsreel)|

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

The musical numbers "My Own Best Friend" and "Me and My Baby" were originally written into the script, but were removed at the last minute. "My Own Best Friend" was to have taken place when Roxie and Velma are put in solitary confinement after getting into a cat fight. "Me and My Baby" can be heard briefly when Roxie faints and proclaims her pregnancy. See more »

Goofs

In the courtroom scene when Billy Flynn does his "tap dance" a mike is visible on the top center of the screen (usually dismissed as projection error, but multiple reports suggest otherwise). See more »

Quotes

Velma Kelly: [singing] Now you see me goin' through it. You may think there's nothin' to it. But I simply cannot do it alone.
See more »

Crazy Credits

Near the end of the credits, just so there are no doubts: Catherine Zeta-Jones' singing and dancing performed by Catherine Zeta-Jones Renée Zellweger's singing and dancing performed by Renée Zellweger Richard Gere's singing and dancing performed by Richard Gere See more »

Connections

Featured in The 79th Annual Academy Awards (2007) See more »

Soundtracks

After Midnight
(uncredited)
Written by Danny Elfman
Performed by Danny Elfman
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Charged, exhilarating, a treat and a surprise.
8 December 2002 | by (Venice, CA) – See all my reviews

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.


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