Chicago (A or 4/4 stars)
Velma Kelly (Catherine Zeta-Jones) is the sexy, sassy vaudeville starlet who murders her husband & sister in 'Chicago', a musical directed by Rob Marshall. Roxie Hart (Renee Zellweger) is a nobody; a wannabe star who kills her lover after finding out his promises of making her famous were false. Billy Flynn (Richard Gere) is the lawyer who not only wants his clients acquitted, he wants his cases to live-on in the pantheon of legendary court stories. And when Billy prefers Roxie's 'HE tried to kill ME' angle to Velma's 'I blacked out & can't remember a thing' angle ... Velma begs for help from Prison Matron Mama Morton (Queen Latifah) to get 'her' name/story back in the public eye. A polished spectacle of acting, singing, & dancing, 'Chicago' is one hell of a fun ride.
Chicago, 1920's: Just before being arrested, Velma vamps through 'All That Jazz' (the musical's most popular number). Similarly, Roxie cloyingly sings, 'Funny Honey'. Most of the musical numbers in the film reflect Roxie's vivid imagination. And so, after committing their devious acts, they both then find themselves in Cook County Jail on Murderer's Row. Velma had top billing in all the papers, but then Roxie came along to steal her thunder. Instant rivals (for Billy Flynn's attention), both women are being represented by the charming, but weaseling lawyer; and he's never lost a case. What he does is set-up his clients as media darlings; using their fleeting exposure to swing the trial(s) in their favor.
Early in the film, we see that Velma & Roxie share the jail with a plethora of other females, all awaiting trial for murdering 'their' own mates. This opens up the stage for the superbly choreographed & executed number, 'Cell Block Tango'. Around the same time, Mama Morton establishes her clout (around prison) as she belts 'When You're Good to Mama'. The public loves a murder; they want every tiny detail; they love a sensation. So because Velma & Roxie adore the spotlight anyway, their dire situation isn't so dire after all. In a late scene, Billy soothes Roxie, "Razzle Dazzle 'Em" in court (cry, faint, yell, repent, etc.), and you'll always get by. With Roxie firmly in Billy's hands, Velma is forced to approach her with an offer of a part in one of her Vaudeville acts. Velma sings the enticing 'I Can't Do It Alone'.
But Roxie could care less. That's a shame, because just when she thought her star was rising, 'Go-To-Hell Kitty' (Lucy Liu) shows up (having killed people) & steals the thunder from both Velma AND Roxie. You see, after a verdict comes in, the public wants the next insatiable story; they're over the last one. Velma & Roxie would find it hard to stay afloat. But both women have a trick or 2 up their sleeves (in-&-out of the courtroom). So if-&-when they escape the noose, they just may have their day in the spotlight again. Every frame of this movie is dripping with opulent sets, flashy costumes, & engaging musical numbers.
The cast is … incredible. Gere is suave & sly as the wheeling-&-dealing lawyer. His character is fun, he sings very well, & dances even better. Renee Zellweger doesn't have the conventional lead singer's Broadway voice, but she does what she can with it. She sells Roxie with her attention grabbing acting chops. John C. Reilly is fantastic as Roxie's loyal-but-dumb husband, Amos. His 'Mr. Cellophane' is a subtle showstopper. Christine Baranski is hysterical as a news journalist. Her duet with Gere on 'We Both Reached for the Gun' is super entertaining. Queen Latifah is fearsome, yet surprisingly helpful (for a small fee, of course) -- she's stupendous as Mama. But the highest praise must go, surprisingly, to Catherine Zeta-Jones. Beautiful, sexy, & conniving are only a few of the many terms I could riddle this review with regarding her turn as Velma. She was born to play this part.
'Chicago' may be boldly visual & splendidly auditory, but it has its sheer moments of wit & eroticism, as well ... displaying both style AND substance. It may all be controlled frenzy, at times. But under all the glitz & glam is a very sturdy story; and for that I am very pleased. Another of its strong suits is that it's sophisticatedly executed. It's not just thrown together to cause a stir; this film is powerful, thoughtful, and immaculate from beginning to end; and I loved every second of it. The Movie Musical is a genre that has fumbled in years past (Evita being a small exception), but its back on track here thanks to Rob Marshall. Superb entertainment.
Chicago, 1920's: Just before being arrested, Velma vamps through 'All That Jazz' (the musical's most popular number). Similarly, Roxie cloyingly sings, 'Funny Honey'. Most of the musical numbers in the film reflect Roxie's vivid imagination. And so, after committing their devious acts, they both then find themselves in Cook County Jail on Murderer's Row. Velma had top billing in all the papers, but then Roxie came along to steal her thunder. Instant rivals (for Billy Flynn's attention), both women are being represented by the charming, but weaseling lawyer; and he's never lost a case. What he does is set-up his clients as media darlings; using their fleeting exposure to swing the trial(s) in their favor.
Early in the film, we see that Velma & Roxie share the jail with a plethora of other females, all awaiting trial for murdering 'their' own mates. This opens up the stage for the superbly choreographed & executed number, 'Cell Block Tango'. Around the same time, Mama Morton establishes her clout (around prison) as she belts 'When You're Good to Mama'. The public loves a murder; they want every tiny detail; they love a sensation. So because Velma & Roxie adore the spotlight anyway, their dire situation isn't so dire after all. In a late scene, Billy soothes Roxie, "Razzle Dazzle 'Em" in court (cry, faint, yell, repent, etc.), and you'll always get by. With Roxie firmly in Billy's hands, Velma is forced to approach her with an offer of a part in one of her Vaudeville acts. Velma sings the enticing 'I Can't Do It Alone'.
But Roxie could care less. That's a shame, because just when she thought her star was rising, 'Go-To-Hell Kitty' (Lucy Liu) shows up (having killed people) & steals the thunder from both Velma AND Roxie. You see, after a verdict comes in, the public wants the next insatiable story; they're over the last one. Velma & Roxie would find it hard to stay afloat. But both women have a trick or 2 up their sleeves (in-&-out of the courtroom). So if-&-when they escape the noose, they just may have their day in the spotlight again. Every frame of this movie is dripping with opulent sets, flashy costumes, & engaging musical numbers.
The cast is … incredible. Gere is suave & sly as the wheeling-&-dealing lawyer. His character is fun, he sings very well, & dances even better. Renee Zellweger doesn't have the conventional lead singer's Broadway voice, but she does what she can with it. She sells Roxie with her attention grabbing acting chops. John C. Reilly is fantastic as Roxie's loyal-but-dumb husband, Amos. His 'Mr. Cellophane' is a subtle showstopper. Christine Baranski is hysterical as a news journalist. Her duet with Gere on 'We Both Reached for the Gun' is super entertaining. Queen Latifah is fearsome, yet surprisingly helpful (for a small fee, of course) -- she's stupendous as Mama. But the highest praise must go, surprisingly, to Catherine Zeta-Jones. Beautiful, sexy, & conniving are only a few of the many terms I could riddle this review with regarding her turn as Velma. She was born to play this part.
'Chicago' may be boldly visual & splendidly auditory, but it has its sheer moments of wit & eroticism, as well ... displaying both style AND substance. It may all be controlled frenzy, at times. But under all the glitz & glam is a very sturdy story; and for that I am very pleased. Another of its strong suits is that it's sophisticatedly executed. It's not just thrown together to cause a stir; this film is powerful, thoughtful, and immaculate from beginning to end; and I loved every second of it. The Movie Musical is a genre that has fumbled in years past (Evita being a small exception), but its back on track here thanks to Rob Marshall. Superb entertainment.