Chicago

I saw Chicago with my sister yesterday and we were hoping that he movie as going to be fun. We were fulfilled to the fullest. The movie Lavishly well done, energetic and fun to listen to, Chicago is easily on the top 10 best musicals ever. The music in the movie, the rhythm just utterly spellbinding, that's how incredible Chicago is. The movie mostly benefits from it extremely talented cast. Catherine Zeta-Jones shines in Chicago and gives the performance of her lifetime. She well-deserved her Oscar. John C. Rielly, Renee Zellwegger and Queen Latifa deserved their Oscar Nominations.

The cinematography, sound, art directions, and especially the costume design they were all expertly done. I resisting the urge to dance and tap my shoe. What an amazing production it took to create this film. Everyone deserved their Oscar Wins or nominations whomever took part in the production. 1920s Chicago comes alive in breathtaking detail. Everyone whom likes musicals or music should definitely have a listen and watch Chicago.

Rob Marshell truly out did himself in this masterpiece. 10/10

In 1924, Cook County (Chicago) had two trials of women who killed their lovers. Both Beaulah Annan and Belva Gaertner inexplicably were found innocent--and the media loved it. As a result, in 1927, a silent fictionalized movie called "Chicago" debuted. Then, in 1942, Ginger Rogers starred in a remake called "Roxie Hart". In the mid-1970s, a musical version of "Roxie Hart" debuted on Broadway. And, in 2002, the filmed version of the 70s musical was released. Now that is a long and interesting pedigree! As for the film, it's an interesting melange. The songs are great and the film is very impressive...yet it's so incredibly anachronistic that it made my brain hurt. Now some of this I could understand--it was more like a filmed version of the play than most musicals. But why they chose to have ridiculously modern outfits and backup dancers confused me. Why did Catherine Zeta-Jones, Renée Zellweger and Richard Gere dress and look like they were from the 1920s--yet the rest of the dancers look right off the stage of Broadway circa 2002?! The fishnet stockings, 2002 hairstyles and the like really confused the crap out of me--especially since I am a history teacher.

Still, I must point out the singing and songs were great and the story was a huge improvement over the Ginger Rogers film (which was wretched). It was well made and I was particularly impressed by Zeta-Jones (who won the Best Supporting Actress Oscar for it), Gere and John C. Reilly. They really worked their butts off and impressed me. So, because so much was right about this film I certainly recommend it. It's just too bad they didn't get the details right or even try when it came to all the minor characters and costumes. Oh well, you can't win 'em all.

Yes, you may be sceptical of the casting if you saw it, but Chicago is a great movie, honestly it is. There is a sharp and witty script, wonderful performances from Catherine Zeta Jones, Renee Zellwegger and Richard Gere and brilliant song and dance routines. The film is stunningly-photographed, and it is not only that the song and dance numbers were great, but also how cleverly they were incorporated into the story, which was a fantastic idea. The costumes are also fabulous, and I thought Catherine Zeta Jones was hot as Velma. Richard Gere is his usual charming self, and Renee Zellwegger lights up the screen even if her character is rather dim-witted. The film is a little long, but I think this is a witty and naughty movie, that is absolutely fantastic in every meaning of the word, and I don't get the negative criticisms. 9.5/10 Bethany Cox

Fictional characters, as a whole, get away with more than is permissible in reality. They do things we would never condone in our peers, yet still manage to elicit our sympathy. Maybe it's a form of catharsis--instead of inflicting violence on other people, we watch someone onscreen do so and cheer them on. Such is the case with "Chicago"--the film features a large rogue's gallery of criminals, con men, and crooks, yet most of these are surprisingly likeable. And yet, the urge to root for the bad guys is somewhat unsettling, for "Chicago" is a story about people beating the rap by manipulating the public, illiciting their sympathy and playing on their deep-seated need for the bizarre and bloody.

Told one way, the story of "Chicago" sounds like a showbusiness drama: a young girl dreams of stardom. She is initailly naive but learns quickly, rising into the blaze of limelight while an older, more experienced rival resents the new face that's stealing the show. The twist is that the art is murder, and the stage is comprised of the papers, the radio, the courthouse, and the all-devouring public eye. The veteran is Velma Kelly (Catherine Zeta-Jones), a nightclub singer who did in her husband and sister after finding them in what is usually called "a compromising position." The newcomer is Roxie Hart (Renee Zelweiger), a cutie-pie who shot her lover after finding out he was using her, and who expects her husband Amos (John C. Reilly, excellent as the quintessentail doormat) to stand by her afterwards. Both women are represented by Billy Flynn (Richard Gere), who brags he can beat any rap for the right price and is probably what Shakespeare had in mind when he made that crack about killing all the lawyers. Flynn's formula is simple: turn the client into a media darling, spin a tragic tale of the good girl ruined by bad choices, and an aquittal is certain.

"Chicago" is a musical, and the film uses a gimmick of establishing two worlds: the real Chicago and a surreal fantasy world in the form of a Jazz-Age theater, where the song and dance takes place. In many musicals this wouldn't work, but here it makes sense. Director Rob Marshall fuses the two worlds together very well, creating images that compliment each other effectively. Some of the concepts look like things you'd see in an editorial cartoon: a press conference becomes a ventroliquist act and puppet show, a trial is depicted as a literal circus. Others offer a reflection of the character's inner self: Amos, in the guise of a baggy-pants comic, bemoans the fact that, like all second banannas, nobody really notices him--even the fantasy audience seems indifferent to his performance (which is, in truth, wonderful).

The ensemble all turns in excellent performances in the acting category, but the singing is more uneven. Zeta-Jones has by far the best voice of the leads, as exemplified by the casually sensual "All That Jazz." Zelweiger is passable, mostly because one gets the impression that her Roxie has more charm and determination than actual talent. Gere only barely manages with the music, and does so mainly on the grounds that Billy Flynn isn't one of the more vocally difficult roles in the music theater cannon. But what he lacks in pipes he makes up for in the character department: his Flynn is a perfectly charismatic scoundrel, one whose talent and danger is in his ability to be so charming. Taye Diggs, who presides over the dream world as the Bandleader, doesn't get to sing, which is a shame because he can--he was in the original cast of "Rent"--but works very well with what he's given.

The mix of glitter and grime in "Chicago" is reminicent of last year's "Moulin Rouge," but those who thought the latter too excessive will probably find this one more appealing. Any fan of music theater, however, will not want to miss this film--it may just be the rebirth of the movie musical we've been hearing about.

Funny thing about watching a movie like "Chicago", which won the award for Best Picture last year. I eagerly awaited the DVD, and when I first sat down to watch it, I didn't finish it. I guess I just wasn't in the mood. I began to wonder what all the hoopla was about. Now, a couple of weeks later, I watched it from the beginning and now I "get" it. I must have been in a different mood, because this time everything "clicked" for me, it was great fun, simply a very entertaining movie. Now I'm glad I own the DVD, aside from my desire to have as many Oscar winners as I can. The whole story is a parody of fame, crime, and use of a slick lawyer to fool a jury. I will enjoy watching it again and again.

My favorite scene was where Gere's lawyer was puppetteer to Zellweger's Roxie, the acting, the singing, the timing were all just perfect. It has been well-publicized that Zellweger neither sang nor danced professionally before "Chicago", and I found her more than adequate for the role of Roxie. In fact, I quite enjoy her singing voice.

(Afterwards I retrieved my old grandma's crystal ball, rubbed it then gazed into it and saw, Renee Zellweger will win the best actress Oscar for her performance in the 2019 movie "Judy" where she plays Judy Garland and does all her own singing of Garland songs.)

Still, Catherine Z-J has the more powerful, trained voice, having started out on stage, and it is apparent when they are together that Z-J is the more seasoned performer.

I was very pleasantly surprised at how well Gere handled his singing duties. Some have complained about his somewhat "nasal" singing voice, but to me it fit his character well. A rich, operatic baritone would have been out of character.

I viewed the DVD with the DTS track selected and it delivers with a fine surround sound. Plus, the picture is very sharp, in all a good DVD to own for fans of musical comedies.

NOV 2024 edit: Watching this movie never gets old.