Chicago Movie
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Storyline
TAGLINES
With the right song and dance, you can get away with murder.
In a city where everyone loves a legend, there's only room for one.
It's Just A Noisy Hall Where There's A Nightly Brawl...and All That Jazz
The one movie that has it all.
It began with a hit...
If You Can't Be Famous, Be Infamous.
Fame hungry Roxie Hart dreams of a life on the Vaudville stage, and spends her nights jazzing it up in the bright lights of Chicago, continually hoping that she'll find her lucky break, and be shot into 1920's stardom, so able to flee her boring husband Amos. In awe of seductive club singer Velma Kelly (who is subsequantly arrested for the murder of her husband and sister - after discovering their affair), Roxie meets Fred Cassely a man who convinces her he can 'make her showbiz career take off'. However after Roxie has undergone the 'casting couch' treatment, and Fred has had his wicked way with her, he reveals that he has no more connections in showbusiness than she does. This is the final straw for Roxie, and her constant anger at rejection explodes. She shoots Fred Cassely and kills him. Upon discovering her infidelity, Roxie's husband Amos refuses to take the blame for the murder and Roxie is sent to jail, pending hanging. In jail she finally meets tabloid darling Velma Kelly, currently receiving huge media attention for the double murder she committed earlier in the tale. Sharing the clink with Velma, are a collection of other sly females, all awaiting trial for the murders of their own partners. Velma is aloof to Roxie, however the prison Warden Mrs Morton offers Roxie the opportunity of representation by slick Chicago lawyer Billy Flynn. Billy is more a showbiz P. R agent than a legal lawyer and minipulates the tabloids into thinking Roxie is no more than an innocent 'good time girl' who took the wrong path, than a scheming murderess. The tabloids go crazy for the new girl on the cell block, and Roxie finally becomes a star. However due to Roxie's new found fame, Velma is forgotten about. She is forced to approach Roxie with an offer of a part in her Vaudville act (filling the gap left by her murdered sister), but Roxie turns down her offer flat, thinking she needs no support in topping the bill. However, just as Velma's star fell, so does Roxie's, when Go-to-hell Kitty arrives at the jail on a multiple murder charge, the press forget Roxie and now she and Velma are in the same boat. With one more trick up her sleave Roxie manages to bring the media attention back onto her, and her day in court arrives. Billy is now ready to play the ultimate showman!
| Renée Zellweger | Roxie Hart |
| Catherine Zeta-Jones | Velma Kelly |
| Taye Diggs | Bandleader |
| Christine Baranski | Mary Sunshine |
| Cliff Saunders | Stage Manager |
| Dominic West | Fred Casely |
| Jayne Eastwood | Mrs. Borusewicz |
| Bruce Beaton | Police Photographer |
| Roman Podhora | Sergeant Fogarty |
| John C. Reilly | Amos Hart |
| Colm Feore | Harrison |
| Rob Smith | Newspaper Photographer |
| Shawn Wayne Doyle | Reporter |
| Steve Behal | Prison Clerk |
| Robbie Rox | Prison Guard |
| Chita Rivera | Nickie |
| Richard Gere | Billy Flynn |
| Rob Marshall |
7.30 out of 10 (55155 votes)
Visitor Reviews
All that muscle tone
posted on 28 Aug 2009After the editing monstrosity that was "Maulin Rogue" (spelling error intended), I was cautious about going to see another musical film. But I'm glad I did, cos Chicago has everything that MR lacked - an engaging storyline, smart, snappy editing, interesting characters, marvelous songs....and all that jazz.Chicago is interesting as a play/story because it intertwines so many topical themes into the one film, particularly its focus on media sensationalism and exploitation that turns suspects into celebrities, and shockingly in this case, heroes (think: OJ Simpson). The case connived by Billy Flynn (Richard Gere) has an intimate "behind the scenes feel" of how the evidence can be easily fabricated and public opinion swayed to influence the outcome of a trial. That Roxie Hart (Rene Z) and Velma Kelly (Catherine Z) are acquitted while the innocent Hungarian woman is executed illustrates that "justice" is only affordable to those with the resources to pay for a "silver tongued" lawyer.But Chicago is also a film that doesn't aim or pretend to preach, or take itself too seriously - as seen in the wonderfully performed ventriloquism scene. It took a few moments for me to work out whether the performers were actually dolls or actually real! (Mind you, that is not a comment on anyone's acting ability in this film).However, while I wouldn't have cast Richard Gere as Billy Flynn (the scene where he dances in his jocks left me pleading he put his trousers back on), he does a passable job. My respect for the character (albeit a corrupt one) increased when it transpired there would be no romance between him and either of the two attractive leading ladies - which is unusual for this sort of film that was dripping with sexual energy.That's all I can really say about Chicago and all that jazz, except if you still are hesitating to sit through two hours of flashy dancing and raging female hormones dominating the jail rooms, then watching Velma Kelly - the ultimate vamp if ever there was one - sucking up to Roxie Hart is well worth the two hours.
I almost walked out of the movie theater
posted on 28 Aug 2009Why, oh why did this movie win the Best Movie oscar? The only good thing about this waste of time is Catherine Zeta-Jones. She was convincing, she could actually sing and act. Renee Zellweger is an awful singer with her squeeky voice and the biggest dissapointment was Richard Gere. I mean, this guy can't sing, can't dance and he is old!! If you want to see Chicago, go to the theatre for a live performance, but avoid this movie at all times!
A surprising treat, which engages and enthralls
posted on 26 Aug 2009In the 1920's, Chicago's vibrancy and media fascination with showbiz, ensured that for many people, the dream was alive and real. Catherine Zeta-Jones, Renee Zellweger and Richard Gere star in this thoroughly enjoyable and brilliantly choreographed movie encapsulating the glitz and glamour of the Chicago high life. When Velma Kelley (Zeta-Jones) is wooing the crowds on stage roared on by admirers, the only thing Roxie Hart (Zellweger) wants to do is emulate her idol. She needs a foothold though, and will do anything to reach the top. The dancing, the high life, the admiration, the press and the love of Chicago is what it's all about. But circumstances dictate that both Hart and Kelley end up in prison after misdemeanors that give them even more press attention.Enter the arrogant showman, public performer and attorney Billy Flynn (Gere) who has never lost a case, and who has to juggle who is hot and who is not within his schedules, together with a media circus surrounding stories of murder, infidelity, and staying power in the media limelight. Chicago is alive, it's breathing, it's an undying cauldron of frenzy and spectacle, and the only way to survive in the spotlight is to be front page news. Flynn knows this all to well, and soon everyone is vying for his public skills and affections to get themselves off the hook from a death penalty. The movie is gripping, extremely well acted and a joy from start to finish. The music and dance sections are absolutely pristine, and whilst Gere does his bit with confidence and panache, Zeta-Jones and Zellweger take the spotlight looking truly stunning throughout, strutting their ego's and moving their bodies to the beat of jazz and blues. Combined with some brilliant supporting performances, the movie is a non-stop assault on the senses that aims to dazzle you, blind you from the harsh evidence, and take you along with the roaring tidal wave that is show business. The power of publicity and performance has never been so strong, and the medium of dance and sound never so sparkling. The costumes are glittering and elegant, sensual and sexual, and the appeal and charisma of the leading characters is wonderfully exotic and erotic in the same breath. Flynn knows the city and what it takes to get along, and when Hart gets ahead of herself thinking that she can run her case on her own, she is swiftly reminded of the inner workings of fame witnessing a fellow prisoner being escorted away in a box after execution. No-one does it on their own, and nobody can rely on themselves, as the fame game is fickle and it's durability uncertain. But as performance after performance takes us to the final verdicts, we are treated to the finale of what Chicago is all about; helping each other to help yourself. In the end Flynn manages a broad smile as Hart and Kelley through gritted teeth and a hatred of each other, perform to get their media fix in front of a packed palladium. How long will they be the sparkle again, who knows? But it's all about the glamour and shelf life, so to miss out would be foolish. The uncertainty, the unpredictability, the stories and scandals are what makes the front page, it's a roller-coaster ride to get public adoration. But like Gere knowingly said - 'That's Chicago'.
My favorite movie!
posted on 22 Aug 2009This was such a great movie. When I first saw it, I didn't think I would like it too much, because I normally don't like movies about murders and crimes, but this was more of a comedy than a gory, murder mystery. I was amazed at the skill and talents of the actors. Catherine Zeta-Jones, although I expected this since she has been singing and dancing since she was a little girl, still stunned me with her expertise. She has a beautiful deep voice that resonates in her songs, and can dance better than any movie star I've ever seen. Her acting was also flawless, and I found myself being glad that she and Renee got out in the end, because even though she plays a character in the movie that everyone is supposed to hate because she is mean to Roxie (Renee), I still found myself liking her best. Renee Zellweger was extraordinary, and it amazed me that she could sing as well as she did with never having sung in a film before. She was a beginner at the singing as well as the 20's style dancing; but she pulled it off like a pro. She also has a gift of likability, because even though I found her character of Roxie Hart unbelievably whiny and selfish, I still liked Renee! Richard Gere was great, too, especially with his tap-dance that he worked forever on. He plays the style of a suave, debonair, sleazy lawyer just right! All in all,I give this movie a 10, because it always kept me entertained, and it is one of the movies that you can watch over and over again, which I have! :)
The Musical is Back in a Big way
posted on 20 Aug 2009The musical is back and it's first class. Rob Marshall as litten up the screen with a fabulous adaption of the Broadway classic Chicago. The cast is great starting with Renee Zellweger doing a great job in the lead musical role of Roxie Hart. She sings, dancces and acts up a storm. Catherine Zeta-Jones Velma Kelly steals the eye when she is on screen. Her opening number, "All That Jazz" shows us all she a talented singer and dancer as well as an actress. Supporiting cast Queen Latifah, Richard Gere and John C. Reilly are all perfectly cast in their roles.Last year, "Moulin Rouge" was a brilliant return of the musical, but "Chicago" leads the pack as the best hollywood musical since "Singin' In the Rain". I've watched this at least a dozen times so far and I enjoy each viewing as much as the first. Far and away this is a true "10" rating. Watch it, you'll be hooked.
Barely a film...
posted on 20 Aug 2009OK, saw Chicago in the local theater and found it reasonably entertaining. Most of the "heavy" Oscars it received seemed misplaced to me. Zeta-Jones does not give a particularly great performance and comes across as a singing version of Joan Collins' soap-queen of the eighties Alexis...My biggest gripe however is that this is barely a film at all. Most of the song an dance-numbers are played out on stage, not even trying to use the film-medium to ad another dimension to the proceedings. This seems most of all like a television production of a stage-show not like a movie.My short conclusion: OK(ish) musical, bad film...
Razzle Dazzle and All That Jazz ****
posted on 18 Aug 2009I saw Chicago a few days ago, and it has taken me this long to recover from its power. It was a wonderful movie and is on my top ten list for movies of last year (even though I had to wait till this one to see it). It is a masterful screenplay and brilliantly executed on all levels. Rob Marshall (a newcomer to film) has brilliantly put all levels of the theatricality or vaudevilleness of the original show into this movie. I was a big fan of the Broadway show and so went to this hoping for a wonderful time and preparing myself for it not to be. But it was a great experience.Roxie Hart (played with beauty, stamina, and unrelenting ego by Renee Zellweger) has been arrested for murder. Velma Kelly, an ex-vaudeville performer, whom Roxie admires, has also been arrested for the murder of her husband and sister. Velma Kelly is played with fiery passion and sexiness by Catherine Zeta-Jones, who astounds in her dance/songs. Both Velma Kelly and Roxie Hart fight over the sleazy lawyer, Billy Flynn (Richard Gere). Richard Gere has an amazing tap dance and a few good numbers. Other key characters are Matron Mama Morton (Queen Latifah), Amos Hart (John C. Reilly), and Mary Sunshine (Christine Baranski).The two actors that impressed me the most were Queen Latifah, dazzling in a rare performance as a corrupt prison warden; and John C. Reilly, proving once again that he can disappear into a role entirely. His solo number Mister Cellophane, is disturbingly sad, and you feel entirely sympathetic for him.I loved the scene work, the editing, the music, the dancing, the singing, and especially the acting in this movie. It has been nominated for eight Golden Globes, and deserves every one of them.**** A+
Chicago
posted on 18 Aug 2009This is probably one of the best musicals I have ever seen, in recent years. Mainly based in a prison, it tells the story of prisoner Roxie Hart (Bridget Jones's Golden Globe winning, and Oscar and BAFTA nominated Renée Zellweger, she should have won the Oscar for this, not Cold Mountain) and her dream to be in Chicago shows. Based in 1930s, it basically showing Roxie's dream with music and dance, with the help of other prisoner Velma Kelly (Oscar and BAFTA winning, and Golden Globe nominated Catherine Zeta-Jones). But this dream cannot come true unless she somehow gets out of prison (for murder), with the help of swiss lawyer, Billy Flynn (Golden Globe winning Richard Gere). Also starring Oscar, BAFTA and Golden Globe nominated Queen Latifah as Matron Mama Morton and Oscar and Golden Globe nominated John C. Reilly as Amos Hart. It won the Oscars for Best Art Direction-Set Decoration, Best Costume Design, Best Editing, Best Sound and Best Picture, and it was nominated for Best Cinematography, Best Director for Rob Marshall, Best Song for "I Move On" and Best Writing, Adapted Screenplay, it won the BAFTA for Best Sound, and it was nominated the Asquith Award for Film Music for Danny Elfman, John Kander and Fred Ebb, Best Cinematography, Best Costume Design, Best Editing, Best Make Up/Hair, Best Production Design, the David Lean Award for Direction and Best Film, and it won the Golden Globe for Best Motion Picture - Musical or Comedy, and it was nominated for Best Director and Best Screenplay. Richard Gere was number 76, and Julia Roberts number 29 on The 100 Greatest Movie Stars, and he was number 43 on The 100 Greatest Sex Symbols, Catherine Zeta-Jones was number 10 on The 50 Greatest British Actresses, and she was number 39 on The 100 Worst Britons, "All That Jazz" was number 98 on 100 Years, 100 Songs, the film was number 12 on 100 Years of Musicals, and it was number 8 on The 100 Greatest Musicals. Very good!
Chicagoan's Point of View On The Musical Of The Century
posted on 16 Aug 2009WOW. Is the one word that I could say for how I felt after watching this movie. I went hoping and praying that it would be decent because it held such high regard, a little disappointed for a few weeks because only select theaters in the Chicagoland Area were playing it. This movie not only survives as just a good movie, but actually holds up as an incredible musical in an age where musicals are nearly unheard of vs. the 40s, 50s, and 60s where that's all that was playing.
Instead of the average musical where the actors stop and break into song and dance all of the sudden making the whole aspect of real-life seem unfathomable, they keep the movie as a movie and the singing and dancing numbers as their own. While a character may be acting in the movie part, they'll cut to that same character singing a song and dancing while cutting back to the character in real life. It may not make too much sense to you now, but believe me how it was done was just ingenius to say the least. Among other things the movie also contains conspiracy, humor, love, jealousy, it covers all angels of the human psyche, while still dazzling us with singing and dance numbers. A few people not show in the previews also make their own little cameos which were an added bonus. If you are a Chicagoan as I am it is also fun to view this Old Time Chicago and hear familiar places and streets that exist today like, "Cook County Prison", "Lakeshore Dr.", and "Cicero". While being a Chicagoan while experiencing Chicago has it's pluses, people from all over the WORLD should bare witness to this great piece of work. It's a thousand times better then the last musical we had...Moulin Rouge, and if you can find a theater near you that has it, do yourself an insanely huge favor. Long live Chicago.
enjoyable but no Fosse
posted on 14 Aug 2009The best thing about this movie is that it succeeds in staging the dark and sexual world of Bob Fosse.These qualities present in most of his work are a matter of taste and don't appeal to everyone.But for Fosse fans they are necessary.What it doesn't do and thats why it is mediocre, it does not contain the high voltage dancing Fosses's name is synonymous with.Zeta Jones tries hard but is not an accomplished dancer and Zellweger hardly dances at all.In the entire movie there isn't one number that dancing fans will remember.Considering this is a Fosse baby the dancing had to be much better.If you want to remind yourself what Fosse was all about,you're much better off with the DVD version of the Broadway tribute to him.That said,Chicago is not boring,the cast is attractive and it moves pretty fast with colorful images.It just lacks what the academy voted it has, the qualities to make it a classic.
Misogyny
posted on 12 Aug 2009I saw Chicago about 6 months after my separation from a 20-year marriage, and about a year before the divorce. What's interesting is that my view of this movie is more sinister now than when I first saw it.The fairly standard parse, I think, is that in a man's world, the comeupance for male romantic privilege ("love 'em/leave 'em" as standard operating procedure) necessarily remains in the hands of individual women. Additionally, the spin in this movie--as in so many movies that heroize "rugged individualist" bad guys, like Bonnie and Clyde--is that this denouement will necessarily be...romantic in nature. When Roxy kills the dud dude who flaunts his plans to dump her unceremoniously, we are to see this as heroic, albeit aided by the scrim of "period" puppet theater fantasy; with music and everything!But as I look back on this, there's a darkness that reaches out through the entertainment value, like magma snaking up through the crust to fry a village. This is the taint of misogyny, pure and simple. It's a characterization of a spiritual level, down below the veneer of male supremacy and female deference, where women are the proverbial meatgrinders, black widows, mantids. The movie takes us, like a pied piper, from the rashness of acts carried out in the heat of passion, through the struggle for survival, and out into the sunshine where the truth gleams in the plain light of day: Women are amoral entities looking out for number one, indistinguishable from monsters. Women are inscrutable goddesses of destruction, and their vaginas will bite it off as soon as look at it.Now what I've just said may strike some as going a bit too far; and maybe it is. But get ready for this: I'm not personally convinced that amorality is a sex-linked characteristic, neither am I convinced that this movie doesn't succeed in pointing out the venality of all persons, regardless of gender. I wouldn't for a minute dismiss the fantastic production values, at every level; the tunesmithing, acting, dancing, singing, film work, everything. In fact, what I'm saying is laudable about the movie. By dancing on the fault line of this suppressed (and eminently suppressible) interpretation of gender reality, Chicago is nothing less than radical.
The year's best film!
posted on 08 Aug 2009"Chicago" is the best film I have seen in 2002. After the success of "Moulin Rouge", Hollywood has given us another musical that lives up to its hype. Beautifully filmed, well-acted, and smartly directed. Catherine Zeta-Jones sizzles as Velma from the very beginning, singing "All That Jazz". Renee Zellweger is perfectly cast as Roxie, and holds her own in the singing and dancing department. As an actress, she has truly come into her own with this role. Gere is a surprise! His Al Jolson-esque singing voice and cocky swagger brings the role of lawyer Billy Flynn to life. Queen Latifah is a scene-stealer as Matron "Mama" Morton. Her solo early in the film is worth the price of admission. John C. Reilly is fast becoming one of the better character actors in Hollywood. His performance of "Mister Cellophane" is great. Christine Baranski is also good in a supporting role as Mary Sunshine. Overall, I would recommend this film to musical lovers and cinema lovers. A rare treat! Overall: 10 out of 10!
A+
WOW! I loved this movie and I can't stand musicals....
posted on 08 Aug 2009I can't stand musicals with the exception of "Rocky Horror Picture Show" and now "Chicago. I was surprised at the cast I didn't think Richard Gere could sing and dance, but he was impressive. Cathrine Zeta Jones WOW she played Velma Kelly so well I was convinced she could've been. Renee Zellweger played both innocent and devious as Roxy Heart. I have always liked the musical and I love the movie now too. The sound track is great and for someone who doesn't buy stuff like that, that's saying something. I would recommend this movie electric, riveting and just all over awesome!
Horrible
posted on 06 Aug 2009An immoral sexist tale with no likeable caracters. They're all selfish, greedy and violent. It's all about justifying a plain second degree murder. There's just nothing to it - nothing touching or moving about it - just a predictable phony Hollywood show-off plastered with some glimmer and stardust, so it could lure some Oscars.
Good Musical Work
posted on 06 Aug 2009Richard Gere. Catherine Zeta-Jones. Renee Zellweger? I at first didn't believe that Chicago was going to be a musical after hearing these names of pure actors. Acting, meaning they act, not sing. I was happily mistaken. They all did a great job, acted their roles well, and could (whatta ya know) sing. It was good, but I think this movie is going 2 be at a tough competition with Moulin Rouge.
This is definitely not The Cotton Club
posted on 02 Aug 2009Whereas The Cotton Club (one of Richard Gere's best films) was a mixture of musicals and gangster movies, Chicago is all musical. Gere, Catherine Zeta-Jones and Renee Zellweger all do well in their roles and have great singing voices, but the movie could have used some more action scenes, gunfights and a bit more non-singing dialogue. I haven't seen the stage musical, so I can't compare it to the movie version. Maybe it was the theater I saw it in. If I had seen it on a mega-huge screen at one of those new cinema multiplexes, would it have had more effect? Nonetheless, the cast is great.
the return of the film musical...I hope so
posted on 02 Aug 2009At this writing, Chicago stands at the point of having thirteen Academy Award nominations, not bad for a genre that many thought had faded out by now...and all I can say about that is it's about time!Chicago is a film that explores the many different facets of celebrity and notoriety as seen through the eyes of two murderesses, Roxie Hart and Velma Kelly. Of course, through the whole film they proclaim their innocence, albeit we as the audience know the real truth: they in fact DID kill the men they were accused of murdering. Since this is nothing but a musical comedy, we are willing to use suspension of disbelief and think that it is okay for women to in fact murder those men who hurt them when in fact there is nothing okay about murder in any way, shape or form. But the audience doesn't care one way or the other, they're simply there to have a great time.Renee Zellweger and Catherine Zeta Jones give tremendous performances as Roxie and Velma, respectively. It is interesting to note that before this film, Renee Zellweger had no musical theater experience whatsoever while Catherine Zeta Jones starred as a chorus girl in musical productions in London's West End before she went on to fame and fortune in Hollywood, not to mention becoming Mrs. Michael Douglas. The supporting cast is just as good with the ever-wooden Richard Gere as shyster lawyer Billy Flynn, Queen Latifah as the Matron "Mama" Morton, John C. Reilly as Amos Hart, Roxie's dim-witted husband and Christine Baranski as Mary Sunshine, the role that was originally played on Broadway by a man.The overall picture of Chicago is stupendous. You really need to see this one on a big screen if not for the sheer fun of it all, but then for the musical numbers. They do take your breath away, especially All That Jazz, the Cell Block Tango and the finale.Something that I really loved about this film was the way it was written.
It is done in a differnt style from most musical films. All the musical numbers are shown as fantasies in the head of Roxie. The script of the film was expanded from the one of the musical, letting the audience see more into these people's lives.All in all this is a great film done in a style all its own. Chicago takes a lot of risks and succeeds totally. Well done.My rating: 4 stars
As Big As Any Gangland Hit
posted on 27 Jul 2009Renowned for his complex choreography and innovative staging, director-choreographer Bob Fosse was well known for his ability to impose tremendous style on even the slightest of material--and that is precisely what he did when John Kander and Fred Ebb presented him with their follow up to Broadway smash CABARET. After considerable script work, the story of two 1920s jailhouse divas emerged on the stage as CHICAGO, a remarkably dark and visually witty commentary on lust, corruption, and fame at any price. And although Fosse, who has been dead a decade or more, had nothing to do with the screen version with CHICAGO, this big screen show is so completely in his style that it is difficult to believe director Rob Marshall wasn't doing a bit of spiritual channeling when he put it together.This one of those rare screen versions that doesn't pull the teeth of the original material: on screen, CHICAGO is every bit as dark and bitter as it was on stage, and if you're expecting a boy-meets-girl, bursts-into-song musical you're in for a rude awakening. Singer-dancer Velma Kelly (Catherine Zita-Jones) has become the queen of Chicago's tabloids by offing her faithless husband and perfidious sister; sitting on death row, she's busy enjoying the press and planning to parlay the attention into a big time vaudeville act--but she's suddenly rolled for the throne by show-biz wannabe Roxie Hart (Rene Zellweger), who captures press attention when she bumps off her lover and is then caught trying to coax her husband into taking the wrap. And with fame, fortune, and beating the wrap high priorities, the two slither, snarl, and play games of one-upmanship right into the courtroom under the sponsorship of their equally corrupt lawyer Billy Flynn (Richard Gere.) It's an arena in which truth counts for nothing and the innocent hang; only hardness, a total lack of integrity, and an implausible lie will get you by.The cast is simply amazing. Both Catherine Zeta-Jones and Richard Gere come from stage backgrounds, but neither have shown their song-and-dance skills on the big screen until now--and they give every indication of having the time of their lives, tossing off everything from meticulous time steps to classic Fosse-esquire squirming choreography, and singing the complicated songs extremely well indeed. And they are very nearly upstaged by Queen Latifa as the wanton prison matron and John C. Reilly as Roxie's dim husband. And then there is Rene Zellweger as Roxie Hart. Frankly, the late great Gwen Verdon, who originated the role on Broadway, is a tough act to follow--but Zellweger sidesteps the trap of merely repeating Verdon's memorable interpretation and creates her own take on the half-naive, half-rapacious jazz baby from hell. And when all is said and done, she makes Roxie Hart her own.Although some songs from the stage version have been dropped, the best survive, and the company tears strips off them, all the way from the opening "All That Jazz" to the finishing "Nowadays." And everywhere the Fosse touch is very much in evidence: surrealistic concepts of space and time, slinky and half-naked dancers, wicked wit, and a sexy sneer are the order of the day. The cinematography is also quite fine, using elements of rapid-fire editing seen in MOULIN ROUGE but without the same "beat you to death" quality that film had. The result is dark, glittering, and remarkably sly in its mix of too-accurate social commentary and classic music elements. And this is one of the few recent musicals that I think will stand the test of time. Strongly recommended.Gary F. Taylor, aka GFT, Amazon Reviewer
superb
posted on 30 Aug 2009Chicago is the best movie I have seen in a very long time. The direction was fabulous, dancing and singing very skillful and entertaining. The story was well put together and portrayed beyond excellence. I find no fault with this film other than the fact that it ended.