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DVD Release: 8.19.03
All I care about is love
-Billy Flynn, All I Care About
All. Those. Spoilers.
I've never seen the musical, Chicago. In fact, I'm not familiar with it at all. And based on the previews and buzz, I just wasn't real excited about the theatrical release, and I waited to rent it. And I'm kind of sorry I waited. This would have been a whole different experience on the big screen.
Chicago was a fascinating movie. To be honest, I have no idea how much liberty was taken in adapting the Broadway musical to film. But from the very beginning, with the cutting back and forth between the first musical scene and the first action sequence, I was transfixed. The non-musical storyline is blended with musical numbers so well, it's just an enjoyment to watch. Direction, Photography and Editing were simply amazing as the story is told through straight dialog, straight acting, song and dance numbers, and a mix of all three.
The tunes were creative and catchy - I don't know if they were all taken straight from the stage or adapted, but they work in this setting. Catherine Zeta-Jones and Renee Zellweger fit perfectly as the two leads, Velma and Roxie. I was surprised at a singing and dancing Richard Gere as Billy Flynn, the defense attorney - but he fits just as well. Queen Latifah is wonderful as the warden, "Mama" Morton, and John C. Reilly has a great part as Amos, Roxie's husband.
The story follows Velma and Roxie as they both land in jail for murder. Velma is a cabaret star, and Roxie wants to be. Neither of them think they deserve prison (or the possible hanging at the end), and so enlist Billy Flynn to get them off. The web starts to tangle with Mama getting her hands in the pot, and all of the characters twisting a web so full of deceit we begin to forget which way is up. The only sincerity present is Amos who ends up being a foil for Roxie as she tries to prove her "innocence."
The whole theme of the movie seems to reflect the X-Files motto: Trust no one.
I think the most fascinating thing is the way it mirrors real life. Anymore, it seems that nothing is sincere and nothing can be taken at face value. And the amazing thing is - that's fine with everyone; they wouldn't have it any other way. I love the way Billy narrates this with his Razzle Dazzle number and the following tap dance. He begins by telling Roxie, "It's all a circus, kid. A three-ring circus. These trials, the whole world, all show business."
Then he launches into Razzle Dazzle with such gems as:
and finishing the number with:
Long as you keep 'em way off balance,
How can they spot you've got no talent?
Razzle Dazzle 'em,
Razzle Dazzle 'em,
Razzle Dazzle 'em,
And they'll make you a star!
To me, this whole movie acts a huge commentary on society - politics, the whole entertainment industry, even religion. Everything's a show, everything's entertainment. Nothing's real. Amos is the only sincere character in the film and, singing Mister Cellophane, laments this fact, noting that no one even notices him. Sometimes it seems films like this glorify the darker (though flashier) parts of life, but it seems to me, they bring it into sharp focus.
Lastly, and as you could probably tell if you'd seen a single preview, the film is somewhat risqué - it's probably not for everyone. But as a whole, I thought it was fascinating, as a musical, as a film, and as a commentary on our society.
There is a single deleted scene on the DVD which is definitely worth watching. A number involving Velma and Mama: Class. It's the perfect irony for the film, as it begins:
And pure ethics,
And nice manners?
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See it if you enjoy musicals, or just enjoy creative filmmaking in general. Don't see it if if you can't stand musicals or tend to shy away from the risqué.
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© 2003 Jim Manchester
Originally posted to Reel People, 9/8/03