Chicago: The Razzle Dazzle Edition

Review By: Edward Kasche
EdKasche@TheCinemaSource.com

This is an outstanding musical and a great film, filled with wonderful performances, memorable songs, and fantastic production work. Ushering in a new wave of Hollywood musicals, Chicago may very well have set the bar too high to be matched.

In 1920s Chicago, only fame can keep two death row beauties from reaching the gallows. Star Velma Kelly (Catherine Zeta-Jones), who murdered her husband and sister after finding them in bed together, and wannabe Roxie Hart (Renee Zellweger), who murdered her boyfriend upon realizing he couldn’t make her a star, vie it out in court and in the newspapers, each fighting for that elusive and fleeting saving grace - fame. Enter Billy Flynn (Richard Gere), the charismatic lawyer everyone needs, but can’t afford. Which beauty will buy his services, and will he be able to pull off his usual courtroom tap dance with these two biting at his heels? It’s all glitz and glam, razz and jazz, as the headlines unfold and the divas get desperate.

Rob Marshall performs the task of shifting the venue from stage to screen with grace and confidence. Most importantly, he adds quality cinematic moments that inspire awe and make audience members want to leap into the aisles. He was the perfect choice to direct Chicago. His work with the set and costume designers and the production team is flawless. Most importantly, the decision to set the film in the real world (dirty, dank prison cells and wet, sloppy Chicago streets), yet allow for the escapist musical numbers, makes the film a daydream of the depression years. It’s a balance which Marshall pulls off.

Catherine Zeta-Jones stands out amongst the talented actors and actresses. She dominates without being overbearing and she surprises with her musical and dance abilities. She’s the acting strength of the picture; Marshall is the glue, she’s the power. She embodies Velma in all her confidence and desperation.

I do not like Renee Zellweger, so please bear with me. There is nothing I like about her, and the only movie I can stand her in is Jerry Maguire, which I attribute entirely to Cameron Crowe’s extremely passionate filmmaking; i.e. I can stand Tom Cruise in that film as well. However, as much as I dislike Renee, she does a fine job in this film, and here’s why: everything I dislike about her helps her to play Roxie Hart – her false personality and her duplicitous, conniving, do-anything-for-fame attitude. I can’t fault her for doing well what she does well naturally.

I had never expected, nor wanted, to witness Richard Gere sing and tap dance, but I was pleasantly surprised by what I saw. I learned in the extras that Gere had musical background, and was extremely confidant in his decision to tackle such a difficult role. Gere steps up ...