Chicago (2002)

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.

Director:

Rob Marshall

Writers:

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

Stars:

Taye Diggs, Catherine Zeta-Jones, Renée Zellweger

Won 6 Oscars. Another 42 wins & 57 nominations.

Cast

Cast overview, first billed only:
Taye Diggs	...	Bandleader
Cliff Saunders	...	Stage Manager
Catherine Zeta-Jones	...	Velma Kelly
Renée Zellweger	...	Roxie Hart
Dominic West	...	Fred Casely
Jayne Eastwood	...	Mrs. Borusewicz
Bruce Beaton	...	Police Photographer
Roman Podhora	...	Sergeant Fogarty
John C. Reilly	...	Amos Hart
Colm Feore	...	DA Martin Harrison
Robert Smith	...	Newspaper Photographer (as Rob Smith)
Sean Wayne Doyle	...	Reporter
Steve Behal	...	Prison Clerk
Robbie Rox	...	Prison Guard
Chita Rivera	...	Nickie

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.

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Plot Keywords:

murder | fame | jail | vaudeville | 1920s | 

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Taglines:

If You Can't Be Famous, Be Infamous.

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Genres:

Comedy | Crime | Musical

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Motion Picture Rating (MPAA)

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

Details

Official Sites:

Official Facebook Official site

Country:

USA Germany

Language:

English Hungarian

Release Date:

24 January 2003 (USA)

Also Known As:

Chicago: The Musical

Filming Locations:

Chicago, Illinois, USA

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

Production Co:

Miramax Films, Producers Circle, Storyline Entertainment

Technical Specs

Runtime:

113 min

Sound Mix:

DTS Dolby Digital SDDS

Color:

Black and White Color

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

This was the first feature film to have its soundtrack recorded using Sony's Direct Stream Digital process and released on the multi-channel SACD format.

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Goofs

When Roxie and Billy argue over what she is going to wear in court, a few long strands of loose hair appear and disappear from the right side of her head.

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Quotes

Roxie: You see, ever since I can remember, I've wanted to be on the stage.
Velma Kelly: Oh yeah? What's your talent; washing and drying?

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Crazy Credits

The end credits are written in Broadway lights.

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Connections

Featured in The 75th Annual Academy Awards (2003)

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Soundtracks

"Class"
(1975)
Music by John Kander
Lyrics by Fred Ebb
Filmed and recorded by Queen Latifah and Catherine Zeta-Jones but cut after previews for the released print

User Reviews

Jailhouse Tango--Take Me Away!

I've been a tap & jazz dancer most of my life. Chicago "razzle-dazzled" me into a state of great stage memories & utter delight in the revival of a dynamite musical. Bring them on! Don't know about you, but I need real entertainment... considering I live in the US during it's most politically corrupt decade. I need a dance, singing & music that is equal in intensity to my blues symptoms. "Chicago" is one of my 'cures'.

My favorite production is "The Jailhouse Tango." It made me reach way back to Elvis's "Jailhouse Rock." However, the stage of this era is much more well equipped to do such a gigantic show-stopping, lengthy, hysterically funny & ever so well danced & sung routine. I can watch that 1 number time & again & find something new I love about it. I also have to agree with the other commentators who couldn't find a single 'bad' number in the entire show.

Yes, Richard Gere can certainly dance & sing in a musical. I found the editing of the trial & Gere's tap dance utterly fascinating. You know, when a dancer is being filmed doing a routine we never know who or what will be in the final cuts. For instance, in "Staying Alive." I knew those dance routines & a few of the dancers. They were truly peeved at the nasty chop job that was done to great dance routines. Not so in "Chicago." Credit has to go also to terrific camera work which did the best job I've ever seen to avoid losing any parts of the stage or the all of dancers' movements.

Most outstanding is "Mr. Cellophane." Shirley Maclaine once did a TV version of "One" using her gorgeous figure & a simple hat, plus a series of ever so subtle dance moves that expressed pure classiness of pure Shirley the marvelous dancer. Reilly uses his costume & hat with those very few subtle moves to express the whole character he plays. It's easy to write he is quite emotionally moving & sings very well.

The contrast between the big production number of The Jailhouse Tango & Mr. Cellophane couldn't be greater. Tango is way high energy, lots of lovely female dancers & singers, with the exception of a very few males: Mr. Cellophane is nearly done in one man's singular slow motion. The choreography had to have been the dancers' delight! Yum.

Zellwenger & Zeta Jones make for a very similar contrast in both their dancing & singing styles. I was nearly shocked that Zeta-Jones could belt out a song Ethel Merman style! At times she brought Merman back to life. Zellwenger belongs in musicals she's so sizzling hot in dance costumes that accentuate a dancer's body & she can really sing while she's performing the piece quite exotically. I can see why prudish folks detest the show. It's sensuous with lots of sexy body work going on. Puritanicals Beware! Nevertheless, the way The Jailhouse Tango started off quite cleverly with such a simple sound as the drip, drip of a jail cell faucet to pace the rhythmic beat at the beginning of the production number was unique & brilliant. So that's one reason why I write that number is the one that stands out most to me. But just as I write that I recall the big number of the live human 'puppets'. How clever was that. Zellwenger & Gere pulled that one off masterfully together with much of the cast as their backup chorus.

I can't possibly understand anyone who writes that it was a flop or they didn't like it. But I do respect your opinions. 10 of 10, undoubtedly. (Chicago makes "Moulin Rouge" look like gooey overly-romantic, made for teenagers, face sucking >blek<. I'm too old to appreciate that nonsense. Give me the all out flaming musical for adults ::winking::).

PS--If you love song & dance musicals, or want to, see "Cats." (Or perhaps fast forward to Grizabella's scene singing & acting out Andrew Lloyd Webber's classic rendition of "Memories"). Musicals can take us away from the heaviness of today to another realm to view the insides of another character through their movements & songs. Thank you for reading me~