Chicago (Renée Zellweger, Catherine Zeta-Jones) 1/2
Once upon a time, long ago, a musical movie would open and go on to become the top-grossing movie of the year. Sometimes they even cleaned up at the Academy Awards, too. Since the 1970's, however, the number of musicals that have been given the big screen treatment is slim. You've got Evita with Madonna, Little Shop of Horrors from 1986, and I guess a few animated films could fit into this category too. In recent years, more often than not, studios will only greenlight a musical if it's got "independent release" written all over it (think Hedwig and the Angry Inch, Dancer in the Dark, and, before it exploded in popularity, 2001's Moulin Rouge!). Now, thanks to proper promotion, critical praise, and healthy production values, the newest entry in the category could really spark a return to form for the once-glorious genre. It's the highly-anticipated Chicago, an adaptation of the saucy 1975 Broadway hit that put the expression "All That Jazz" on the map.
This incarnation stars Renée Zellweger as Roxie Hart, a whimsical wife who shoots her blasé lover after he tells it like it is. With little help from her relatively slow husband Amos (John C. Reilly), she ends up getting sent to prison. So too does Velma Kelly (Catherine Zeta-Jones), a dancer whom Roxie has admired. Velma has killed her husband and her sister when she caught them fooling around and is now awaiting trial. The big-busted "Mama" Morton (played with show-stopping vigour by Queen Latifah) suggests recruiting Billy Flynn (Richard Gere), who has purportedly never lost a case. As the media scrums turn the murders into front page fodder (sound familiar?), Roxie begins to enjoy her newfound celebrity.
The film marks yet another collaboration from the songwriting team of John Kander and Fred Ebb, who have had one of the greatest and longest-running music-and-lyrics relationships in theatre history (Cabaret, Steel Pier, Kiss of the Spider-Woman). They are rarely hesitant to accentuate the sensuality of their characters, and Chicago is no exception. Some numbers boast chorus lines of women in black lingerie, while others have dance steps that might make even Bob Fosse (the choreographer) himself blush. But although the subject matter frequently gravitates towards sensual themes, the musical itself is not overtly sexy. It is energetically always moving forwards, propelling the satirical narrative, and not caring to stop for incidental teases along the way.
Directed by veteran Broadway director Rob Marshall, Chicago has an impressive array of songs that are catchy and, more importantly, actually work with the story and not against it. "Cell Block Tango" ("He Had It Coming"), "Razzle Dazzle", "Roxie", and "Mister Cellophane" are all excellent character pieces (for Velma, Billy, Roxie, and Amos respectively). The real standouts are Latifah's "When You're Good To Mama", and "We Both Reached for the Gun", which is set against a series of marionettes that is as eerie as it is inspired. Incidentally, watch for the Spider-Woman herself, Chita Rivera, in a brief cameo.
Clearly, one of the predominant questions will be whether Chicago is as good a movie as Moulin Rouge!, which was nominated for best picture last year. Personally, since I was not a fan of the 2001 smash hit, the choice is obvious. Marshall's film is in a class all its own. However, since I am apparently in a minority in regards to the merits of Moulin, its likeability by others will probably be determined by other factors, such as whether or not one is looking to hear previously released music, or if one prefers songs that have been written specifically for the material. Another factor will be the performances, which in my esteem are quite accomplished here, but I could probably understand if someone were to take a contrary position on this point.
It has come to my attention that the floodgates have now officially opened thanks to films like Chicago. Several Broadway musicals are scheduled to finally be adapted into film, and I for one am ecstatic. It's my understanding that Joel Schumacher's Phantom of the Opera is now in post-production, and an adaptation of the late Jonathan Larson's influential breakthrough Rent is scheduled for a 2004 release. The prospects are encouraging, and it's a great time to be a fan of Broadway musicals.
