Hollywood practice of not awarding the actual best film of the year at the Oscars was maintained at 75th Academy Awards when Polanski’s The Pianist had to settle with Best Actor, Best Director and Best Adapted Screenplay Award. Unlike many similar instances, most cinephiles and general audience at the end of the day aren’t going to see it as great injustice, since the actual winner, Chicago, 2002 musical directed by Rob Marshall, was rather popular, entertaining film that is more likely to remain in viewer’s memory than other Oscar winners.
Chicago is actually a film with long pedigree, with origins that go almost a century back. In 1924 two Chicago women – Beulah Annan and Belva Gaertner – were tried for murders of their respective lovers and both were acquitted. Those two cases inspired Chicago journalist Maurine Dallas Watkins to write Chicago, 1926 stage play that would receive two film adaptations – 1927 eponymous silent film and Roxie Hart, 1942 comedy starring Ginger Rogers. Partly inspired by those films and partly by his own growing up in 1930s and 1940s Chicago, legendary choreographer and stage director Bob Fosse has created 1975 musical which would become one of greatest hits of Broadway. Its 1996 revival created impetus for film adaptations that would be finished six years later.
The plot takes place in 1929 Chicago. Roxie Hart (played by Renee Zellwegger) is former dancer who still dreams about show business career and is therefore willing to cheat on her husband, kind-hearted but naive car mechanic Amos (played by John C. Reilly). But when it turns out that her lover Fred Casely (played by Dominic West) lied about his show business connections, she reacts by shooting him dead. Because of that she ends up in prison, namely so-called “Murderess’ Row”, section reserved for women murdering men, which is run by corrupt Matron “Mama” Morton (played by Queen Latifah). One of the prisoners is Velma Kelly (played by Catherine Zeta-Jones), former theatre star who got there after murdering her husband and sister. Both women are under threat of being hanged, but that problem might be solved by Billy Flynn (played by Richard Gere), top defence attorney who is, if given sufficient fee, willing and able to get anyone acquitted. His tactic is to use publicity to portray women as innocent victims. He is hired both by Roxie and Velma, but it is very publicity that would make two women into rivals.
Some critics have greeted Chicago with initial scepticism, mostly due to notion that musical with characters suddenly breaking into song and dance seems a little bit anachronistic in the age of MTV and music videos. Australian director Buzz Luhrmann in his Moulin Rouge! tries to evade this by making entire film as one giant music video. Rob Marshall, on the other hand, was constrained by stage play as its source to which he had to be faithful during adaptation. Marshall solved this problem by song and dance numbers following the plot and serving as illustration of the inner thoughts of main characters. Unfortunately, the need to have his film look “cool” in modern style led to editing choices that ruined what used to be one of the most valuable aspects of 1975 play – Bob Fosse’s choreography. Fosse, who was probably the most qualified person to direct film, sadly wasn’t around, having passed away in 1987.
On the other hand, although far from perfect, Chicago functions as likeable and entertaining musical. Song and dance numbers are very attractive, and the cast is surprisingly good, especially considering that some of its members didn’t have much experiences in singing and dancing. That included Zelwegger and Gere, who delivered much more impressive performances than Zeta-Jones. Zelweger is especially good because her “girl next door” look is so different from femme fatale features of the character she plays. Acting is also helped by simplicity of Bill Condon’s script, which doesn’t dwell much on important messages or deep characterisation. Chicago shows that a century ago, just like today, desire for fame, fortune and success removed all moral concerns, whether within individuals or society as a whole. There are definitely better and more comprehensive ways to explore this unpleasant truth on screen, but Chicago represents one of he more entertaining efforts in this direction.
RATING: 7/10 (+++)
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