Chicago Review
by Michael J. Gold (mjgold01 AT yahoo DOT com)March 12th, 2003
Chicago ***
Directed By: Rob Marshall
Written By: Bill Condon
Music By: John Kander
Roxie Hart: Renée Zellweger
Velma Kelly: Catherine Zeta-Jones
William 'Billy' Flynn: Richard Gere
Matron 'Mama' Morton: Queen Latifah
Amos Hart: John C. Reilly
The Bandleader: Taye Diggs
Kitty Baxter: Lucy Liu
Mary Sunshine: Christine Baranski
Running Time: 1:53
Rated PG-13 (for sexual content and dialogue, violence and thematic elements.)
Reviewed By: Michael J. Gold
Chicago is the latest in a long line of film adaptations of hit Broadway musicals. Indeed, the film plays out more like a stage production than a film, and that is part of its charm. In addition it is filled with so many different types of song and dance numbers that at least one is certain to appeal to most everyone.
The story follows jazz singer wanna-be Roxie Hart (Renée Zellweger) who is having an affair with a man who claims he has connections who can get her a part at a local jazz club. When he fesses up that he lied just to get Roxie into bed, she shoots him three times in the chest.
The prison matron, Mama (Queen Latifah), takes a liking to Roxie and tells her that only the famous attorney Billy Flynn (Richard Gere) can get her off. Billy is a greedy, flamboyant, self-assured attorney who takes Roxie's case for less than his typical fee when the cash is placed out on his desk.
Zellweger and Gere do an exceptional job in the lead performances. Zellweger shows that she can sing and dance as well as act, and Richard Gere gives probably one of the best performances of his career. Gere brings so much energy and charm to Billy Flynn that we find ourselves infatuated with a character that plays the audience just like he plays the media.
Despite those performances, the supporting actors often manage to outshine them. Catherine Zeta-Jones, who began her career as a dancer is right at home and really shines in the part of an established jazz singer who is accused of murdering her husband and sister when she caught them having an affair. Her gripping opening number immediately sets the mood and style for the entire film.
As Roxie's husband, Amos, John C. Reilly shows us once again why he is one of the premier character actors working today. Reilly gives us the one character in the film that we can truly empathize with because Amos is a good man who loves his wife and can't quite grasp that what she loves is herself and not him. We feel Amos' pain as Reilly sings a heartfelt lonely song about people not even noticing him.
The one real flaw with Chicago is that the character the film wants us to identify with is a murdering adulteress who only cares about her own personal fame. Event he supporting characters, with the exception of Amos, are all either corrupt, criminals or fueled by greed. As we watch Roxie and Billy manipulate the press and the jury, we're certain that she does not deserve to go free and that makes it a little more difficult to want her to be acquitted.
Still, there is a lot to like about this film; the energy of the performers fuels the film and we get swept up in their enthusiasm. The way the film is edited together to mix the story with the songs is simply brilliant; the songs perfectly accentuate the feelings as well as the hopes and dreams of the characters. The costumes are bright and colorful and provide the story with a sense of style and flair in what could have easily been a very dark and drab film. Overall, this is film that wants to envelop its audience in the bright lights of Broadway and flaunt its own showmanship.
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