The Big Break Review:
CHICAGO
The Triumphant Return of the American Movie Musical?
by Sonny King

CHICAGO [2002/USA/PG-13]
Theatrical release-12/27/02 - (1 hr. 53 min.) - 3 stars (out of 5)

Sure it's not as good as the LIVE Broadway show, but this film has still got 'all that jazz'!

Directed by Rob Marshall

Screenplay by Bill Condon, based on the musical play by Bob Fosse & Fred Ebb (and the original stageplay by Maurine Dallas Watkins)

Original score by John Kander & Fred Ebb

Characters/Cast
Velma Kelly - Catherine Zeta Jones
Roxie Hart - Renee Zellweger
Billy Flynn - Richard Gere
Matron "Mama" Morton - Queen Latifah
Amos Hart - John C. Reilly
Mary Sunshine - Christine Baranski
Kitty - Lucy Liu
Bandleader - Taye Diggs
Martin Harrison - Colm Feore
Fred Casely - Dominic West

Review:
After the failures of "Annie" and "A Chorus Line" to withstand adaptation to the big screen, it's a pleasure to report that "Chicago" arrives intact as a widescreen musical extravaganza—well, nearly intact.

Bob Fosse's original production chronicling the exploits of a couple of publicity hogging murderesses (and their adoring press following) gets a slight homage in this film, while the 'concert' version currently on Broadway receives almost a full rendition. Remainder of film is filled with newly created 'real' moments that successfully put each song in its proper emotional context.

As usual, the strongest number in the movie (and likewise the stage show) is the full ensemble performance of 'Cell Block Tango,' which first-time film director Rob Marshall builds to a gigantic climax. Sadly, nothing prior to or following can top it.

For those wondering if movie stars can really dance and sing in this day and age, well, in this movie they can—well, sort of. Though it's hard to tell with all the rapid-fire editing.

Renee Zellweger's turn as 'Roxie' is a far cry from her recent one-note,supporting role as the faded actress in
"White Oleander." Here she gets to show off a full-range of acting from bright 'bimbo' to conniving 'broad,' and seems to love every minute of it. Her singing voice is a little thin, but her characterization of the fame-starved 'Roxie' is worth the price of admission alone.

In a somewhat smaller role, Catherine Zeta Jones's "Velma" is suitably jaded and her singing is accomplished. However, some of her dance numbers seem a bit forced and lack the natural ease that someone like Bebe Neuwirth (from the Broadway revival) could have contributed. Musical theater buffs will enjoy spotting Chita Rivera's brief cameo in the prison, since she originated the role of 'Velma' opposite (the now-deceased) Gwen
Verdon's 'Roxie' in Bob Fosse's original Broadway production.

The two biggest surprises in the film are Richard Gere ("Unfaithful") and Queen Latifah ("Brown Sugar") in the roles of 'Billy Flynn' and 'Mama Morton' respectively.

Gere completely embodies the slick-talking shyster lawyer and easily steals every scene he's in as well as providing most of the comic relief. Even his weak singing and tap-dancing can be easily dismissed as he practically carries the second half of the film.

Similarly Queen Latifah proves that she's more than just a rapper and also a much better actress than she is a talk-show host. Usually the prison matron's role is essayed by a 'mature' actress, but Latifah brings a new youthful rhythm to the role and makes it her own.

The only performance that will leave die-hard "Chicago" fans grumbling is the normally reliable John C. Reilly's ("The Good Girl") flat rendition of Roxie's husband 'Amos.' Sadly, this film presents the worst staging of the song 'Mr. Cellophane' I have ever seen, but the number is the only major mis-step by first-time feature film director Rob Marshall (he previously directed the highly praised TV production of 'Annie' with Kathy Bates).

Fans of the musical will also be disappointed that the humorous song 'Class' has been elimated from the film. The only other major change is the curious substitution, or rather "sex-change," of the comic character 'Little Mary Sunshine' which has been re-cast from a 'man-playing-a-woman' to a 'real-woman' reporter portrayed by Christine Baranski (where's the joke in that?). This seems an extremely conservative and unjust departure from the original show, since it deprives moviegoer's of both Mary's song and the hilarious comic moment when 'she/he' is unwigged.
And since nothing was written in to replace the omission, Baranski's role amounts to little more than a cameo.

Changes aside, all the design elements (period costumes, sets, photography) are top-notch and the additional original score by Danny Elfman blends in perfectly.

"Chicago" the film is still worth seeing since it does retain such classic numbers as "All That Jazz," "Razzle Dazzle," "When You're Good to Mama," and a rousing rendition of "We Both Reached for the Gun."

My motto is 'if ain't broke, don't fix it,' but if you can't get to a LIVE production of "Chicago", then this film is a
decent substitute and definitely as star-studded as anything else playing at the local cineplex.

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