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Chicago (2002)

PG-13 | | Comedy, Crime, Musical | 24 January 2003 (USA)
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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(screenplay), (book) | 2 more credits »
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Cast

Cast overview, first billed only:
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Cliff Saunders ...
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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:

jazz age | fame | murder | jail | 1920s | See All (105) »

Taglines:

If You Can't Be Famous, Be Infamous. 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:

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Country:

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Language:

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Release Date:

24 January 2003 (USA)  »

Also Known As:

Chicago: The Musical  »

Box Office

Budget:

$45,000,000 (estimated)

Opening Weekend:

£113,386 (UK) (27 December 2002)

Gross:

$170,684,505 (USA) (29 August 2003)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

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Color:

(mock newsreel)|

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The play "Chicago" was Maurine Dallas Watkins' retelling of two very public murder trials that occurred in Chicago in 1924, those of Beulah Annan and Belva Gaertner. Watkins covered these trials for the Chicago Tribune and wrote the character of Mary Sunshine as a self portrait.

For Belva Gaertner (better known as Velma Kelly), she had a much less glitzy fate. She was acquitted and went on to have a few run-ins with the law, but ended up living a (semi-)normal life before dying of natural causes in California in 1965 at age 80.

Although in the case of Beulah Sheriff-Annan (aka Roxie Hart), it was more of a grisly end. It's true she was acquitted of murdering her lover, thanks to the skills of her highly paid attorney, who was bankrolled by her stunningly loyal husband. She repaid that debt by publicly divorcing him after her release. She'd re-marry two more times until her death from tuberculosis four years later. See more »

Goofs

Depending on whether you go by the timeline of the 1924 Broadway play, the 1927 silent movie, or whatever year the 1975 musical revival represents this film certainly takes place in the 1920s. Early in the film Mama Morton is heard mentioning going to Big Jim Colosimo's, a famous gangster of the era. Big Jim was murdered in 1920 and couldn't have been alive in the mid 1920s. Also 'bobbed hairstyles' were not a norm in the year 1920. Women would have still been wearing long hair as they had before WW1 in the Victorian and Edwardian eras. See more »

Quotes

Roxie: God that's beautiful.
Billy Flynn: Cut out God. Stay where you're better acquainted.
See more »

Crazy Credits

There's no opening credits, save the title "CHICAGO". See more »

Connections

Referenced in The Beyoncé Experience: Live (2007) See more »

Soundtracks

Razzle Dazzle
(1975)
Music by John Kander
Lyrics by Fred Ebb
Performed by Richard Gere
Published by Unichappell Music, Inc. (BMI)
See more »

Frequently Asked Questions

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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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