Chicago Review
by Karina Montgomery (karina AT cinerina DOT com)December 30th, 2002
Chicago
Full Price Feature
Oh my god. Luscious, sexy, intense, gorgeous, energetic, exciting! These were my only thoughts upon exiting the theatre after seeing Chicago. I felt literally intoxicated. This film defies the traditional trend of stage musicals not quite working on screen after being successful on stage. My companion had seen the show live on stage, and said that it actually worked better as a film. As I was watching it, I tried to imagine it being performed live; it was as if the show were invented for the movies. Instead of a surreal mix of stylized costumes and dancing with the relatively serious story, Chicago the film offers a straightforward period drama of Roxie's ambition and failures, and cuts to the musical numbers as a sort of supertext of what is happening in the story. Brilliant!
When the two worlds meet (which is used sparingly for great effect) it shows the fantasy exerting its power over the true story. The musical numbers stand alone with beautiful sexy glamour; and we also see the real people whose tales are being told. It is the ubermusical. The musical portions has the energy of a live show - I almost felt they were there on stage, breathing. If you like musical theatre, you should not miss this for any reason. If you don't like musical theatre, you should probably see Chicago. This is the perfect culmination of the dramatic goal of mixing music with drama, with more sexiness and glamour and beauty I ever thought possible - and I own Moulin Rouge!
The signature opening number, "All That Jazz" is the single sexiest thing I have ever seen. It makes the fencing scene in Mask of Zorro look like The Crucible. The rest of the numbers live up to that example (except for the sexiness, though many numbers are very very sexy). I know you are wondering, "How are Catherine Zeta-Jones, Renee Zellweger, and (gulp) Richard Gere?" Catherine was of course a professional hoofer at one point, and it shows - and she can belt like a mama! Renee, whom I have long resisted, got me. She was sassy and vulnerable and sexy and she sang and danced and kicked butt! Richard looked so much at home tapping and singing and rolling around on chorus girls, I can't imagine him doing anything else. I have to completely revise my anti-Gere stance after this. The filmmakers also made extra sure to credit these three for their hard work in the credits, i.e. "Richard Gere's singing and dancing performance by RICHARD GERE."
Also kicking serious musical booty are Queen Latifah and John C. Reilly. The additional score is by dark Danny Elfman, the perfect companion to this dark and dangerous musical. Rob Marshall directed and choreographed this beautiful movie. Don't worry, Chicago purists - his dancework is impressive, you won't miss Fosse's stylings at all. The choreography is more classic and also more modern, less theatrical, if that makes sense.
Let's look at two musicals (not the only ones, either) who were nominated for Best Picture, and why this one should be too. West Side Story combined a timely commentary on prejudice in a modern context with cutting edge modern music and choreography. It won Best Picture. Moulin Rouge was not so political, but it also broke new walls of filmed musicals using the technology of film to further the genre. Chicago has a timely commentary of the power of the press and the fickleness of fame in a fantastical context with cutting edge modern choreography and staging. I love love love it. I hope you will too. But you can never say they don't give you every penny's worth.
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These reviews (c) 2002 Karina Montgomery. Please feel free to forward but just credit the reviewer in the text. Thanks.
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