Chicago

“Chicago,” released in 2002, continues the resurgence of the musical that started with “Moulin Rouge.” Despite current audiences don’t like to see stories interrupted by songs, apparently, they like songs interrupted by stories. The movie is a stunning song and dance variety, with just enough words to support the music and allow everyone to recollect themselves between songs. You can watch it like you listen to an album, repeatedly. The same wonder explains why “Moulin Rouge” was a better hit on DVD than in theaters.

The movie stars innocent Renee Zellweger as Roxie Hart, who murders her lover and convinces her husband to pay for her defense, and Catherine Zeta-Jones as Velma Kelly, who broke up her vaudeville sister act by murdering her husband and her sister while they were participating in an activity that is not for in-laws. Richard Gere is Billy Flynn, the slick, expensive attorney who claims he can beat any case, for a $5,000 fee. “If Jesus Christ had lived in Chicago,” he explains, “and if he’d had $5,000, and had come to me – things would have turned out differently.” Roger Ebert noted in his review, “This story, lightweight but cheerfully lurid, fueled Bob Fosse, John Kander and Fred Ebb’s original stage production of “Chicago,” which opened in 1975 and has been playing somewhere or other ever after–since 1997 again on Broadway. Fosse, who grew up in Chicago in the 1930s and 1940s, lived in a city where the daily papers roared with the kinds of headlines the movie loves. Killers were romanticized or vilified, cops and lawyers and reporters lived in each other’s pockets, and newspapers read like pulp fiction. There’s an inspired scene of ventriloquism and puppetry at a press conference, with all of the characters dangling from strings. For Fosse, the Chicago of Roxie Hart supplied the perfect peg to hang his famous hat.”

Ebert continued, “The movie doesn’t update the musical so much as bring it to a high electric streamlined gloss. The director Rob Marshall, a stage veteran making his big screen debut, paces the film with gusto. It’s not all breakneck production numbers, but it’s never far from one. And the choreography doesn’t copy Fosse’s inimitable style, but it’s not far from it, either; the movie sideswipes imitation on its way to homage.”

The decision to use non-singers and non-dancers is always controversial in musicals, especially currently when famous actors are needed to headline expensive movies. With Zellweger and Gere, it can be said that they are persuasive in their musical roles and well-cast as their characters. Zeta-Jones was, actually, a professional dancer in London before she decided to leave the chorus line and take her chances with acting, and her dancing in the movie is a reminder of the older days. The film starts with her All that Jazz song, which plays like a promise “Chicago” will have to work off. Also, it was a good idea to cast Queen Latifah in the role of Mama, the prison matron. She performs When You’re Good to Mama with the great guarantee of a performer who knows what good is and what Mama likes.

The story is inspired by the famous headlines of the Front-Page time and the decade after. We meet Roxie Hart, married early and rashly, to Amos Hart, played by John C. Reilly, as Ebert describes, “a credulous lunkhead.” She has a lover named Fred Casely, played by Dominic West, who sweet-talks her with promises of being famous. Ebert said, “When she finds out he’s a two-timing liar, she guns him down, and gets a one-way ticket to Death Row, already inhabited by Velma and overseen by Mama.”

Can she get off? Only Billy Flynn can do something like that, even though his price is high and he sings a song praising his strategy (Give’em the old razzle-dazzle). Velma has already on the headline for newspaper readers, but after the poor Amos pays Billy his fee, a process begins to change Roxie into a misunderstood heroine. She herself shows a certain intelligence in the process, as when she dramatically reveals she is pregnant with Amos’ child, a claim that works only if nobody in the courtroom can count to nine.

Ebert noted, “Instead of interrupting the drama with songs, Marshall and screenwriter Bill Condon stage the songs more or less within Roxie’s imagination, where everything is a little more supercharged than life, and even lawyers can tap-dance. (To be sure, Gere’s own tap dancing is on the level of performers in the Chicago Bar Association’s annual revue).” There are a few moments of straight pathos, including Amos Hart’s lousy disbelief that his Roxie could have cheated on him. He sings Mr. Cellophane about how people see right through him. However, for the most part of the film is on a solid-gold suspicion.

Ebert said, “Reilly brings a kind of pathetic sincere naivete to the role–the same tone, indeed, he brings to a similar husband in “The Hours,” where it is also needed.” It’s surprising to see the confidence in his singing and dancing, until you find out he was in musicals during his school years. Ebert said, “Zellweger is not a born hoofer, but then again Roxie Hart isn’t supposed to be a star; the whole point is that she isn’t, and what Zellweger invaluably contributes to the role is Roxie’s dreamy infatuation with herself, and her quickly growing mastery of publicity.” Velma is supposed to be a signing and dancing star, and Zeta-Jones delivers with charm, high style, and the amazing confidence the world forces on you when you are one of its most beautiful people. As for Queen Latifah, she’s too young to remember Sophie Tucker, but not to imitate her.

Ebert ended his review by saying, ““Chicago” is a musical that might have seemed unfilmable, but that was because it was assumed it had to be transformed into more conventional terms. By filming it in its own spirit, by making it frankly a stagy song-and-dance revue, by kidding the stories instead of lingering over them, the movie is big, brassy fun.”

I think I might remember seeing this movie advertised and on DVD shelves after it came out, especially at the library. However, I never bothered watching it until some time ago after I saw Nostalgia Critic saying He Had It Coming was one of the best villain songs. This is a great musical and you should definitely see this if you haven’t. It is currently streaming on Paramount+, so don’t miss your chance to see it on there.

We have now come to the end of “Dance Month.” I hope everyone enjoyed this and have seen the movies I recommended. Check in next month to see what I will review next.