Chicago (2002)

Starring Catherine Zeta-Jones, Renée Zellweger, Richard Gere, John C. Reilly, Queen Latifah.
Directed by Rob Marshall.
Written by Bill Condon.
Based on the musical by John Kander, Fred Ebb and Bob Fosse.
Distributed by Miramax Films.
113 minutes.

LVJeff's Original Rating: 8/10

Note: This page includes original review and an updated follow-up.

And Now, Ladies and Gentlemen, A Review

Why do I like Chicago, the musical, so much? I became acquainted with it when I saw the recent stage version in Los Angeles in 1998. Back then, I really liked the spare look of the production -- with no props and no literal costumes, it was a story told almost entirely through its song-and-dance numbers (and some really great lighting). Months later, I could recall how I generally felt about the show although I couldn't remember too much about the specifics -- in fact, I could really only remember how one song, "All That Jazz," went.

And then I had the opportunity to borrow the CD soundtrack, and I was reminded why I enjoyed it so. The songs, and consequently the story, were extremely funny and cynical. Chicago, which combined the dance style of Bob Fosse with the music and lyrics of John Kander and Fred Ebb in the service of a vaudevillian satire, was quite a nasty little show -- it had bite, attitude, and something humorous to say about how flash and notoriety fulfill the people's appetite for celebrity and instant gratification. Listening to the music made me wish I could watch the show again.

So what could be a better gift than a musical movie adaptation of the show? Boy, when I heard about it a year ago, I rubbed my hands with anticipation. Oh, but it had so much pressure to face! I wanted it to be good -- as faithful as possible to the spirit of its source, with top-notch performances to match. The movie not only owed this to fans of the stage version, it also had the burden of taking the baton from last year's Moulin Rouge and running with it. Baz Luhrmann's manic pop-music-filled extravaganza signaled a possible return of the popularity of the musical film genre. Chicago would thus be the next true test -- it had to be more accessible than Moulin Rouge, but it also had to maintain an energy that would keep audiences asking for more.

Now I've finally seen it, and what's the best I can say about the new movie? It doesn't blow it. I had a fun time, although I couldn't help feeling nitpicky about the whole thing. I thought it was a little too serious -- it doesn't bleed cynicism the way the stage version did. The movie complemented the sarcasm of the musical numbers with mostly face-value exposition. I also felt the film cut out too many songs (for instance, whatever happened to "Class"?). And Richard Gere was ill-fitted to play Billy Flynn. Gere overdoes his numbers with an attitude that proclaims, "Golly, am I happy to be in a musical! And look what I can do!" I mean, isn't Mr. Flynn supposed to be more of a cool customer?

But when the movie gets it right, it gets it right with pizazz. Instead of employing the old-fashioned method of having characters in a normal setting suddenly breaking out in song, Chicago runs the musical numbers parallel to the "real-life" action, often implying the performances are actually part of the imagination of the main character, Roxie Hart (Renée Zellweger). This allows the singers and dancers to perform their numbers as if on stage with the traditional outfits, thus preserving the feel of the stage musical. During the songs, the "reality" scenes cut in and out of the "performance" scenes to keep the story grounded and continuously moving.

As a result, the movie rolls smoothly from one number to the next, preventing any loss of energy. It flies high the whole way through, and it is definitely helped by the performances of its lady leads, Zellweger and Catherine Zeta-Jones. Zeta-Jones is the more obviously trained of the two, and she comes to life in her too-few song-and-dance performances. Zellweger doesn't quite pull off the gleefully delusional ditz that is Roxie during her numbers, but she tackles her role with an earnest enthusiasm.

My mind still see-saws over what I liked and didn't like about the movie. "We Both Reached for the Gun" was delightfully depicted. The "Mr. Cellophane" number isn't how I would have imagined it. The story climaxes very nicely with a slight change in plot and a new tap-dance number near the end. What happened to the word "foxy" in the "Roxie" song? "Cell Block Tango" turned out awesome, but the editing during the dancing cuts around a little too much for a production in which dance is an essential element.

But you know in the end
I'd watch it all again
For all that jazz.

©Jeffrey Chen, Dec. 27, 2002

UPDATED FOLLOW-UP

LVJeff's Updated Rating: 9/10

As I promised myself, I watched Chicago again. I'm quite happy I did because not only did it hold up, it also washed over me more completely this time. I enjoyed it in all its "Chicago-ness," getting into the performances and songs. Renée Zellweger actually impressed me much more with this viewing -- I like her version of a Roxie who steadily grows to be more ruthless, or, perhaps more accurately, steadily sheds any notions of herself as a poor, innocent young thing. I could detect Roxie becoming more accepting of her naturally unprincipled self, and I give Zellweger credit for being able to convey that.

Part of my overall loosening up had to do with some reading I did. Having only been familiar with the recent revival version of Chicago the musical, I tried to find out more about the original 1975 stage version. Many of the little things I wasn't used to -- from the presentation of "Mr. Cellophane" to Billy Flynn's stripping during "All I Care About" -- came from the original production. With this in mind, I laid some of my nitpicks to rest and soaked in more of the show.

I know, however, that I will never be able to embrace the movie completely -- some of those pesky nitpicks still remain, from Richard Gere's merely passable singing to the lack of a gleeful bite in many of the numbers. Most of all, however, I'll always lament the missing songs (having now heard "Class" from the soundtrack album, I have more reason to mourn its absence in the film). But, as I've said to someone before, I'm going to enjoy the film as much as I can because it's the only movie-version of Chicago we've got, and at least it's very good.

©Jeffrey Chen, Jan. 25, 2003

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