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Chicago (2002)

PG-13 | | Comedy, Crime, Musical | 24 January 2003 (USA)
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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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(screenplay), (book) | 2 more credits »
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1,165 ( 42)
Won 6 Oscars. Another 51 wins & 128 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Stage Manager
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Mrs. Borusewicz
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Police Photographer
Roman Podhora ...
Sergeant Fogarty
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Robert Smith ...
Newspaper Photographer (as Rob Smith)
Sean Wayne Doyle ...
Reporter
Steve Behal ...
Prison Clerk
Robbie Rox ...
Prison Guard
...
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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

Taglines:

It's Just A Noisy Hall Where There's A Nightly Brawl...and All That Jazz 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  »

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Box Office

Budget:

$45,000,000 (estimated)

Opening Weekend USA:

$2,074,929, 29 December 2002, Limited Release

Gross USA:

$170,687,518, 4 September 2003

Cumulative Worldwide Gross:

$306,776,732
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

| |

Color:

(mock newsreel)|

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

John C. Reilly is such a clown enthusiast he insisted on designing his own clown make-up for 'Mr. Cellophane'. It was also his idea to incorporate Amos' application of the make-up during the number. See more »

Goofs

At 1:28, Velma and Momma are listening to the trial on a radio. The tubes are visible, glowing white. Real tubes of that era glow with a soft orange light. If they were glowing white, they would last about an hour, if that. See more »

Quotes

Roxie: [singing] And then he shot off his trap... man I can't stand that sap. Look at him go. Rattin on me.
See more »

Crazy Credits

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

Connections

Referenced in Honest Trailers: Les misérables (2013) See more »

Soundtracks

Nowadays
(1975)
Music by John Kander
Lyrics by Fred Ebb
Performed by Renée Zellweger
Published by Unichappell Music, Inc. (BMI)
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Frequently Asked Questions

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User Reviews

 
Charged, exhilarating, a treat and a surprise.
8 December 2002 | by 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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