Chicago Review
by Jerry Saravia (faust668 AT aol DOT com)April 21st, 2003
CHICAGO (2002)
Reviewed by Jerry Saravia
April 10th, 2003
RATING: Four stars
"Chicago" is one of the purest, most entertaining musicals I've seen in quite some time. This is a biased review to some degree since I am not a lover of musicals, but I do love jazz set against the backdrop of Chicago. Therefore, considering this is set in Chicago and there are jazzy musical numbers with the ably cast Richard Gere, Renee Zellweger and Catherine Zeta-Jones, then count me already a fan. It helps that the movie is great, too.
Set in the Windy City during the Roaring 20's, Renee Zellweger stars as Roxie Hart, an aspiring musical talent who can't seem to find the right connections to perform at any club. She is promised a meeting with Velma (Catherine Zeta-Jones) but her acquaintance is only interested in getting in her pants (he is a furniture salesman). Lo and behold, feeling betrayed and used, Roxie guns down the furniture maker and goes to jail. Her husband, Amos Hart (John C. Reilly), refuses to lie to protect her, especially since he is fumed that she was having an affair. Roxie is put in jail in the control of "Mama" Morton (Queen Latifah), the matron in charge of the female prisoners on Murderer's Row. Mama can help Roxie for a fee of a hundred dollars, even if it is just to make a telephone call. Roxie wants the sensationalistic, flashy, media-hungry lawyer, Billy Flynn (Richard Gere), to represent her though his fee is 5,000 dollars. Her husband is able to procure his help and defend Roxie in court through his specialized talent of "razzle dazzle." Billy is so cocksure of his charisma and persuasiveness that he calls objection before the prosecutor even utters a syllable.
Roxie faces some stiff competition from Velma. Velma is in the same prison and is also being represented by Mr. Flynn. Who can vie for the most attention in the media? Well, Roxie gets her shot of fame as she speaks out to the press, despite Flynn's objections. Before you know it, Roxie is a celebrity, garnering more attention than she thought possible (women start wearing her hairdo, dolls are made in her image, etc.) The point is made clear that in Chicago, if you want to be a celebrity and you happen to be a woman, kill your philandering husband if he is caught in bed with someone else. A sly bit of casting occurs when Lucy Liu plays a heiress who finds her husband in bed with two women and shoots them all - a definite celebrity in the making.
Though most of the musical numbers are electrifying and show stopping, the real show-stopper is Catherine Zeta-Jones as the haughty Velma. Zeta-Jones radiates the dynamic energy and glow of a real singer and dancer (she obviously had experience prior to acting). Her opening number, "All That Jazz," is a classic bit of real razzle-dazzle - it sets the tone and atmosphere for the rest of the film.
Renee Zellweger is the more uppity, frightfully emotional woman who longs for attention from the world. Her morose expressions may test the patience of some moviegoers but it is in keeping with the character. She can also sing and dance though her talent is squandered next to the real dynamo, Zeta-Jones.
Richard Gere and John C. Reilly are surprisingly a great match for Zeta-Jones. Gere
keeps the wit and humor at a relatively low level, letting loose only when he has to. His "Razzle-Dazzle" number is exquisite, as is his tap-dancing routine. It is a pleasure to see Gere vibrant and on his feet in lieu of the usually glum roles he plays. O'Reilly has a great number, "Mr. Cellophane," that shows loneliness in a way that is sure to elicit an emotional response.
And finally, there is Queen Latifah as the big, boisterous Mama. Her tune, "When You're Good to Mama," is sexy, juicy stuff - proof that Latifah has been hiding her genuinely musical talents on screen for far too long.
I confess I have not seen the Broadway show though I have admired the late Bob Fosse's choreography ("Cabaret" being one of them). Rob Marshall (a choreographer turned director) does a fantastic job of directing what must have been a difficult transition from stage to screen. The editing, choreography, lighting and performances are frenetic and souped-up in a way that recall the way musicals used to look and sound. It may not be Technicolor, but it is theatrical and appropriately over-the-top. I am told the show has its differences (like any adaptation would) but it was a great idea to have wildly imaginative musical numbers made to appear as if it was all in Roxie's imagination. What a vivid imagination indeed. And that's "Chicago."
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