Chicago

Chicago

By: Nicolette Karter

        I loved this. I like musicals in general, but the thing that was always a little “Well, that’s unrealistic” in every musical was the fact that the characters broke out into choreographed song & dance on a regular basis (Side note: I wish my friends & I would have a flash mob when we meet for lunch. Mostly out of curiosity as to what the other customers would do). Anyway, I liked how the makers managed a way around that oddity musicals have by having most of the numbers a figment of the main character’s imagination. Much more realistic that way, especially because she wants to be a star in vaudeville (which I think is like 20’s Broadway, but I’m not sure).

        So, it starts off showing actual vaudeville star Velma Kelly (Catherine Zeta-Jones) doing a show at this nightclub (before the police come to arrest her for killing her husband & his mistress/Velma’s sister) with Roxie, played by Renee Zellweger, looking on in jealousy. During the number, the editor & choreographer show off while having multiple segues between Velma’s musical number & Roxie’s tryst with a man who promised he could make her a star. A month later, she finds out he was lying, so (being completely rational & level-headed) she shoots the guy. She then proceeds to pin in on her very-willing-to-take-the-blame-for-her husband played by John C. Reilly. He’s not my favorite person, but he was perfect for the role of Amos, the guy who makes any Zach Galifinakis character look like Einstein. He makes it so easy for people to put one over on him, that it was a little shocking when he told the cops he didn’t kill anyone, & let Roxie go to death row for murder.

        This is not so bad in a musical, particularly when Queen Latifah has a musical number to introduce her as the Matron “Mama” Morton of murderer’s row, as it’s called. Here Roxie meets (yes, via musical number. Everyone in here seems to be introduced through a musical number) the other murderers, including Velma. A competition between the two ensues, with both vying for top dog in jail, & the newspapers. This is partly because if you have a lot of headlines, you will probably live because you have Billy Flynn (Richard Gere) as your lawyer, & he’s never lost a case. His introductory number isn’t my favorite, but I appreciate the irony of the lyrics with the cut-away shots to his real life.

        After Amos has a change of heart & hires Billy, Roxie starts her little charade for the papers the will save her life. This leads to another musical number, & the choreography is amazing. I like how the movie did things the play physically can’t (like cut-away shots & certain parts of “They both reached for the gun”). After almost losing her fame, & then almost losing her lawyer, Roxie has her trail (a court date she stole from Velma, along with the fame killing people gives you in 1920’s Chicago). Might I say that Mr. Flynn has a suit that could easily be made entirely from sequins, & Elton John would be jealous.

        SPOILER ALERT This is quite the entertaining trial, & I enjoyed the tap dance metaphor during the final defense for Roxie. Sadly, after getting set free (& I mean right after), her spotlight was stolen. Seeing as Velma & Roxie are now both 5 minutes ago, you’d think they’d be friends & help each other out. But you’re forgetting that women hold grudges, so they still don’t like each other. The final musical number was nice & gave the movie a full-circle ending because it (along with the opening number) was one of the only two actual performances (like, it didn’t happen in Roxie’s mind).

        What did you who saw it think of this movie? Are you as in love with the costumes as I am? Out of all the movie musicals you’ve seen, how does this compare? What would you like me to review next?