Chicago (Widescreen Edition)

Chicago (Widescreen Edition)

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Movie Reviews of Chicago (Widescreen Edition)

Movie Review: Simply Marvelous
Summary: 5 Stars

Chicago starts off on a literal high note, the films energy remaining vigorous to the closing credits. The call of five-six-seven-eight! is sounded by a bandleader in a smoky nightclub as an unseen woman in stilettos struts through the rear entrance. Making a hasty costume change after killing her husband and her sister Veronica in a jealous rage, Velma Kelly (Zeta-Jones) has little qualms about performing their two-woman vignette on her own. She rushes the stage and in relishing the spotlight, the self-absorbed starlet doesnt even notice the Chicago police storming in to arrest her as she enthusiastically belts the opening number to what is, from the very start, a fantastic show.

Watching enviously from the audience is Roxie Hart (Zellweger), an aspiring singer who longs for her own stage act that will one day make her a star. So hungry is she for glory that shell step over  or slaughter - anyone that stands in the way.

In due time, Velma and Roxie both become jailbirds and once imprisoned for their misdeeds, the best musical numbers come into play. At the femme brig, Roxie meets some interesting prisoners and is formally introduced to Mama Morton (Queen Latifah), a tough-talking prison matron with a soft spot for attractive dames. Roxie has scruples about her chances of surviving hard time and starts feeding Mama the ol damsel in distress routine, convincing her to make a phone call to a high-powered attorney named Billy Flynn (Gere). Knowing shell receive a death sentence by hanging if she doesnt secure herself a trial, she charms Billy into taking her case. Unfortunately, every woman in the prison is vying for Flynn and Roxie and Velma start butting heads, the brash blonde even stealing the trial date that Velma had originally secured. While waiting for her first day in court, her imagination brings her comfort, her mind conjuring some pretty spectacular song n dance sequences. The most entertaining sketch comes from Cell Block Tango, six inmates sharing their salacious murder stories (and then he ran into my knife  he ran into my knife ten times.). Other sassy numbers include Razzle Dazzle, I Cant Do It Alone and my personal favorite We Both Reached For The Gun. Each song is seamlessly woven into the action, a musical number starting almost immediately after another has ended. Chicago ends on a literal bang, the finale containing an original song written especially for the film that brings down the house.

Its easy to identify the theater veterans. Zeta-Jones, in a tour-de-force performance that has earned her a nomination for Best Supporting Actress, once belonged to a Catholic performance troupe in her childhood and starred in productions of Annie, Bugsy Malone, The Pajama Game and 42nd Street. Gere, an accomplished pianist and composer, polished his vocals and fancy footwork up from his last foray into theater some twenty years ago. Considering who else the producers and casting directors had in mind for the part of Billy Flynn (John Travolta, Kevin Spacey and Hugh Jackman were all considered), Gere is a pleasant surprise and my only disappointment is that the Academy failed to notice him. Christine Baranski, John C. Reilly, Deirdre Goodwin and Taye Diggs round out the theater veterans, the latter two of which made an appearance in the 1998 Broadway revival of Chicago.

Who really astonishes here is Renee Zellweger. Director Rob Marshall really took a chance on the 32-year-old Texan - she had absolutely no vocal or dance training whatsoever (though no one would know this watching her  shes that good). She prepared for the role of Roxie Hart not only by watching well-bred co-star Zeta-Jones but endured a grueling schedule of vocal and dance instruction for 10 months to meet professional criterion. For someone whos never set foot on a stage, she has managed to gain her second nomination for Best Actress for doing just that  it was a risk well-worth taking after all. Also astounding is Queen Latifah - she belts When Youre Good To Mama with such gusto that one would think shes been on Broadway all along. Even more of a shock is her very first appearance on a A-list of Academy Award nominees, not to mention being up against co-star Zeta-Jones in the very same category.

Probably the most awe-inspiring aspect here is the man behind the iron curtain. Rob Marshall, who has been a dancer and choreographer for several years, has taken his first solo stab at directing  and hes chosen a major motion picture to oversee, no less, a medium completely apart from musical theater. Having co-directed the wildly successful 1998 revival of Cabaret, Marshall worked with then unknown director Sam Mendes (who won an Academy Award two years later for American Beauty) and gained a good amount of knowledge as to what it took to helm a production. Not long after, he was called upon by Miramax producer Harvey Weinstein to discuss a film version of the Broadway musical Rent but pitched his ideas for Chicago instead. Weinstein and others gave Marshall the green light and four years later, his dream was realized. A virtually unknown member of the entertainment community, he now has a chance of winning an Oscar for Best Director (much like Sam Mendes out-of-the-blue nomination and victory). A little golden man on his mantle will not only make him a household name but will also be the ticket to numerous offers to direct and/or produce over the next few years.

Bottom line, Id have to say its an incredible case of beginners luck for all involved. I think it goes without saying that not only will Chicago be a hit on Oscar night but it will also make an impact with audiences when the DVD (no doubt loaded with special features) hits the shelves sometime this year.

Summary of Chicago (Widescreen Edition)