CHICAGO has, of course, enough of a rudimentary plot to cement together the dance numbers, which are the film's raison d'etre. Roxie Hart (Renee Zellweger) is a wannabe dancer in 1930s Chicago, who idolizes Velma Kelly (Catherine Zeta-Jones). However, both are arrested for murder, Roxie having gunned down a duplicitous lover after he reneges on a promise to introduce her to a friend who can get her into the Biz, and Velma for having whacked her husband and her sister when she caught the two in bed together. Thrown into Cook County Jail, both fall under the control of the jolly and corrupt Matron "Mama" Morton (Queen Latifah), and both retain the services of Billy Flynn (Richard Gere), a flamboyant lawyer who specializes in defending women accused of homicide, and who's never lost a case.

There aren't enough superlatives to describe CHICAGO, and I fear my review won't do it justice. Jones, a former dancer before she turned actress, struts her magnificent stuff beginning with the opening number ("All That Jazz"). Zellweger and Gere, neither hoofers by training, are seemingly miscast - but it works magnificently. All three sing and dance their way through the film in visually stunning choreographed numbers that had the audience clapping after each.

As Roxie and Velma worked their way through the criminal and judicial systems, the creators of CHICAGO were astoundingly clever in superimposing a musical version of each step in the process on the "real" one, for examples, the on-site police investigation of Roxie's crime ("Funny Honey"), Matron Morton's introductory speech to her new charges ("When You're Good to Mama"), Flynn's entrance ("All I Care About"), and Roxie's defense ("We Both Reached for the Gun"). My favorite comes during Roxie's trial when Flynn, more showman than counselor, displays his philosophy on defense strategy with the glitzy "Razzle Dazzle".

CHICAGO is loud, colorful, in-your-face, exuberant entertainment. I'd give it 10 stars if I could. And if you don't take the opportunity to see it while it's on the Big Screen at the beginning of 2003, then you're doing yourself a huge injustice. I beg you to see this film! I intend to see it at least once more, and will purchase the CD soundtrack and DVD when they're released.


Divas to Die For   December 9, 2002
 43 out of 50 found this review helpful

It is the 1920s in Chicago and we enter this musical film through a saucy nightclub to see Velma Kelly (Catherine Zeta-Jones) performing a duo act of All that Jazz on her own. Only later is it revealed what happened to her sister who was supposed to be the second half of the act. Next we meet Roxie Hart (Renee Zellweger) who is a naive girl with big dreams of stardom who goes to the slammer for killing her lover. From the moment she enters and we see a brief flash of her imagining herself on stage, we are aware that this film is half reality and half Roxie's dream. Ambitious Roxie has to find a way to get herself out of prison and onto the stage. To do this she creates an innocent persona that is designed by her smooth talking lawyer Billy Flynn (Richard Gere) for the media to bring the public to her support. With his help and the sassy matron of the women's prison 'Mama' Morton (Queen Larifah) Roxie eclipses Velma Kelly's prison girl fame. Her matronly values and repentant attitude have the public enthralled and the jury in tears. But with her newfound celebrity Roxie's head is sent spinning again with plans of musical fame. However, it becomes increasingly obvious that her popularity will be dreadfully short lived if she doesn`t craft a way to remain in the spotlight. Teetering on the brink of superstar celebrity and death row, Roxie will have to give the performance of her life if she wants to save her neck. Filled with beautifully choreographed catchy musical numbers and a pleasing sweep of fast dramatic action, there is never a dull moment in this film. It's a triumphantly enjoyable thing to watch.

The greatest reason for this film's success is due to the stunning ensemble of actors many of whom (with the exception of Queen Larifah) we aren't familiar with hearing sing. The cast all excel in both in their musical numbers and acting performances. Catherine Zeta-Jones looks stunning and is fun in her catty diva role. Renee Zellweger is perfect for her part of the innocent, but still determined and quietly vicious, Roxie who will stop at nothing to become a star. Like in the striking film Nurse Betty, Zellweger's character again confuses reality with her dreams and her subtle facial shifts and movement meaningfully represent her psychological conflict. Most surprisingly, Richard Gere delivers a fantastic performance as the slimy lawyer proving that this actor can really do comedy well. Then there are notable performances in minor roles that leave an impact such as Queen Latifah`s sultry money-hungry matron, Christine Baranski as the hilarious news reporter Mary Sunshine, John C Reilly as Roxie's neglected but still loving husband Amos Hart and Lucy Liu as the vicious ball-busting heiress Kitty.

Those familiar with the famous stage show of Chicago will not be disappointed because this film maintains its focus on the musical and dance numbers as the centerpiece. In fact, the meaning of Roxie's psychological confusion between reality and fantasy is wonderfully accentuated by the film's ability to quickly cut between the drab, harsh reality and the glamorous, jazzy corners of Roxie's imagination. The director Rob Marshall excellently filmed all the dance numbers to focus on particular moves as well as capture the full action of the performances for the fullest effect. This movie is a fine example of how a musical film can succeed where its pertinent counterpart (as both films focus on a female on death row) Dancer in the Dark failed. The musical numbers all take a vital role in both accentuating plot detail and enjoyably moving the film along. Likewise, the story does not take itself too seriously preferring to revel in the fantastic music and thrilling story rather than focus on any specific moral meaning. That isn't to say that this film isn't emotionally engaging. It excels in its ability to entertain you as well as draw you into an exciting story of fame, glamour and death.


A WONDERFUL MUSICAL - NON-STOP DANCING, MUSIC AND FUN   January 27, 2003
 41 out of 53 found this review helpful

This film successfully transitions Bob Fosse's smash musical (currently in revival on Broadway) to the screen. Director Rob Marshall imaginatively uses the film techniques at his disposal to keep the audience engaged thru the fast pace and switches between reality and Roxie's fantasies. The story is set in the dance halls and theaters of the Roaring Twenties, and involves love, murder and an examination of the difference between notoriety and fame and the fleeting nature of success.

Roxie Hart (Renee Zellewegger) is a girl who dreams of being a musical star, as is her role model Velma Kelly (Catherine Zeta-Jones). They soon both are in jail awaiting trial for murders that they have committed, and vie for the attention of attorney Billy Flynn (Richard Gere), the hot shot lawyer who has never lost a capital case. They also attempt to capture the media spotlight, given the headline-grabbing nature of their crimes of passion, Velma's fame, and the press sensationalism of the time. While Zeta-Jones was already an accomplished dancer, all the performanes are excellent, and it is a tribute to Zellwegger and Gere that while perhaps not up to the quality of Broadway stage performers they handle the musical and dancing aspects of their roles so well. (Richard Gere engaged in a huge amount of practice for the tapdancing scene alone.) Queen Latifah utilizes her talents to the fullest and is wonderful as the manipulative prison matron. John C. Reilly does a superb job as Amos, Roxie's faithful and loving husband who is not the brightest star in the sky. (His musical routine as "the Cellophane Man" is captivating.)

But remember that this is a big stage musical on the screen, not a complicated plot or a moving and emotional drama. The story is only a vehicle for the incredible music and the marvelous dance routines of Bob Fosse, and totally succeeds in that attempt. So go to enjoy an hour and forty-five minutes of action and fun and to see the wonderful performances of the cast. (And at a small fraction of the price that you would pay for tickets to the Broadway show.) Hopefully, the artistic and commercial success of CHICAGO will cause other producers, directors and actors to realize the potential of current Broadway shows to become hit films and encourage them to revive this almost forgotten form of movie release.


Sin. Gin. Jazz. Chicago!   December 16, 2002
 35 out of 44 found this review helpful

After numerous false starts and endless speculation as to casting, director, screenwriter, ad nauseum, Bob Fosse's legendary CHICACO finally hits the big screen. Interest is high on whether or not Rob Marshall's dazzling take on the popular musical actually translates into the true revival of a moribund genre. The end result? This is not a hot house flower like Baz Luhurmann's groundbreaking "Moulin Rouge." CHICAGO channels Fosse's "Cabaret" by offering a more organic means of including songs in a narrative without distancing its audience. While it may not have the MTV sheen of "Moulin Rouge," CHICAGO is no less invigorating or exciting. If anything, it is another riveting example of how a new generation of filmmakers is giving the screen musical a powerful breath of life.

Featuring an ensemble of stage veterans with faces you never expected to belt out a showtune, CHICAGO wins on every level. From Bill Condon's wonderfully acerbic adaptation to Marshall's sexy musical numbers and Colleen Atwood's drop dead gorgeous gowns, CHICAGO is pure fun. However, the real power comes from the "killer diller" pairing of Catherize Zeta-Jones (as Velma Kelly) and Renee Zellweger's surprising star turn as Roxie Hart. Both deliver unforgettable performances that will surprise the hell out of a lot of people. Both women look like their having the time of their lives and that gives the film plenty of lift. The supporting cast, especially John C. Reilly and Queen Latifah are clearly up to the challenge and deliver terrific performances. Even Richard Gere, who at times seems like he's going through the motions in recent projects, has a glint of fun in his eyes.

Full of sizzle and sexy appeal, CHICAGO proves a more enjoyable evening than the long running revival that is a global phenomenon. How the film affects the revival will be interesting. While a live performance is always an enriching experience, CHICAGO the film proves an equally - and more cost effective -- way of enjoying this immensely winning piece of entertainment. What I appreciated the most about Miramax's vision of the project was leaving the show alone and not to create a youthquake. After a mediocre film year with few bright spots, the end of 2002 is truly saving the best for last and it goes without questions that CHICAGO is among the must sees.


Simply Marvelous   March 19, 2003
 34 out of 42 found this review helpful

Think Hollywood actors canyt be multi-talented? Think again. yChicagoy is the product of countless hours spent with vocal coaches and choreographers to perfect the art of the movie musical and director Rob Marshall has hit the jackpot y his whole cast can sing, dance and act as if they were indubitably part of a Broadway troupe.

yChicagoy starts off on a literal high note, the filmys energy remaining vigorous to the closing credits. The call of yfive-six-seven-eight!y 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 doesnyt 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 sheyll step over y 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 yMamay 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 oly ydamsel in distressy routine, convincing her to make a phone call to a high-powered attorney named Billy Flynn (Gere). Knowing sheyll receive a death sentence by hanging if she doesnyt 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 ny dance sequences. The most entertaining sketch comes from yCell Block Tangoy, six inmates sharing their salacious murder stories (yyand then he ran into my knife y he ran into my knife ten times.y). Other sassy numbers include yRazzle Dazzley, yI Canyt Do It Aloney and my personal favorite yWe Both Reached For The Guny. Each song is seamlessly woven into the action, a musical number starting almost immediately after another has ended. yChicagoy ends on a literal bang, the finale containing an original song written especially for the film that brings down the house.

Itys 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 yAnniey, yBugsy Maloney, yThe Pajama Gamey and y42nd Streety. 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 yChicagoy.

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 y sheys 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 whoys never set foot on a stage, she has managed to gain her second nomination for Best Actress for doing just that y it was a risk well-worth taking after all. Also astounding is Queen Latifah - she belts yWhen Youyre Good To Mamay with such gusto that one would think sheys 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 y and heys 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 yCabarety, Marshall worked with then unknown director Sam Mendes (who won an Academy Award two years later for yAmerican Beautyy) 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 yRenty but pitched his ideas for yChicagoy 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 Mendesy 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, Iyd have to say itys an incredible case of beginnerys luck for all involved. I think it goes without saying that not only will yChicagoy 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.