"Chicago!"

Chicago: A Visual Feast
It's been since 1968 since that a musical was voted an Oscar for best picture. That year the big prize was given to Oliver! Sir Carol Reed, that film's director, won the Oscar, too, for the same film.

A musical for the best picture? A musical for the best director?

Kind of unbelievable for those on this thread too young to remember the musical's Hollywood heyday. But, yes, the musical genre used to be quite a contender at Oscar-time.

It will be this year, too, thanks to an obvious labor of love entitled Chicago. Now, I haven't seen too many films this year, but even so, I can tell you that the Motion Picture Academy will offer Chicago a list full of nominations.

I am not going to attempt a full review of Chicago here. That would be too long, too superlative and too unfair to those who haven't seen it. I will say Chicago has superb craftsmanship in every frame and in every performance. It would be a more than suitable successor to Oliver!

Every aspect of Chicago is first-class, from its stunning lighting design to its proper use of make-up. It takes a wonderful assemblage of artists to maintain the attention to detail "know-how" obvious here from main titles to end titles.

Director Rob Marshall will get much credit for his work here. He should because most of it is his vision. But, this razzmatazz vision could not have been achieved without the technical staff that surrounded him. Seeing the film, the viewer gets the idea that every person involved is contributing his/her best work. And, to a person, they are. We are all familiar with "ensemble" acting. Many films have that -- but few have "ensemble" production values. Chicago is a rare exception. I think even a casual viewer would notice this fact.

As for the actors, well, to see Richard Gere as a fine actor and singer and capable dancer in Chicago is seeing him at his best. At age 53, he is having the time of his film career. Booman's love interest, Catherine Zeta-Jones, as Velma, is a stunning beauty with just the right amount of bitchiness.

The other female who gets top-billing is Renee Zellweger as Roxie Hart. She has a more difficult role than Zeta-Jones in that she has to do an almost My Fair Lady-type transition: from housewife in a squalid Chicago apartment to a vamping vaudeville headliner. The role of Roxie calls for a pastiche of coyness that is sometimes too difficult for an actress to achieve and then execute. Ms. Zellweger carries off this transformation with aplomb.

Others in the cast are watchable, too, including Queen Latifa who does a bawdy musical turn as the prison warden, and Christine Baransky as Marshall's answer to a 1920s version of Mary Hart of today's Entertainment Tonight. Even Chita Rivera, the Velma in the original cast of Broadway's Chicago which opened in 1975, has a tiny cameo in the movie and seems to be enjoying herself at age 70.

Of the supporting cast, John C. Reilly, as Zellweger's rejected husband, builds his character with the proper touch of emotionalism. And in his production number, "Mr. Cellophane," he is both poignant and memorable.

Chicago is basically about show-biz and the lengths to which some people will go to achieve and maintain stardom. It is so compelling in its presentation that when it was over, I felt like I had just witnessed a live production rather than a film. It is just that powerful.

Chicago is bound to be a financial success because it was made by people who never let down their high standards. Even a casual moviegoer, one who is not fond of musicals, will find Chicago a visual feast. At just under two-hours' running time, it is just long enough to leave the audience wanting more.

And wanting more is what show-biz is all about.

Very enjoyable and substantive review, thanks wh

So, williamhenry, is it safe to assume that you liked the movie?

They should use a quote from WH's review, in their ads.

LarryBS<

Thanks for your kind words re: my comments about Chicago.


Merry Andrew<

You are very safe in your assumption. Chicago is a wondrous experience.


Booman<

Please make your suggestion to the agency handling Chicago's account.


News about the next Rob Marshall film?<

I happened to be web surfing the other night and landed on www.abcnews.com. Here I found news that Rob Marshall, Chicago's director, is in discussion with Stephen Sondheim, our foremost composer/lyricist, to make a film of Sondheim's Broadway musical, Sweeney Todd: the Demon Barber of Fleet Street.

Todd is a rather ghoulish show, but one of Sondheim's best. The main characters murder people, place them in a meat grinder, and then make mincemeat pies with the remnants.

Marshall said, in the ABC article, that he would only do the film if he could retain the bloody-effects that are in Todd. He wondered if audiences would enjoy the plot. Marshall would be a fine director for a film version of Sweeney Todd. I hope it works out!

(I did not save the link from the ABC story. It may still be on the website. Click on "Entertainment.")

WH - You're giving away the plot! But maybe everyone will forget by the time the movie comes out!

Sorry, macsm. Didn't mean to spoil the show for you.

You are correct: it will be awhile before this one hits the theatres.

I'm not sure how successful "Sweeney Todd" can be brought to the screen -- it's already been presented on PBS as a taped stage production with the original cast -- George Hearn (who was just featured in the Sondhiem review, "Putting It Together") and Angela Landsbury in a delicious portrayal of the inventive pastry chef. It's more of a satirical opera than, say, "Company" which, with the New York City settings, would be a natural. If they could get Elaine Strich to belt out "Here's to the Ladies Who Lunch!" Although, in the same review (now on HBO), Carol Burnett delivered a great rendition of the show stopper.

Lightwizard<

I have the tape of Sweeney Todd with George Hearn and Angela Lansbury. What a terrific cast!

As for a film version of Todd, I pose this question, respectfully,:
Who would have ever thought that Chicago, the stage play, would have been made into such a wonderful film?
Creativity is limited only by one's imagination. I think Rob Marshall could probably turn most any stage musical into a fine film.

And, yes, Company should become a film, and Elaine Stritch should be cast in her original role. If not, then the authors of the screenplay could "write-in" a new part for Stritch just so she could delight generations to come with "Ladies Who Lunch." Everybody rise

"Chicago" did have the advantage of being filmed twice before so there was a precedent (Ginger Rogers made a piquant Roxie Hart).

I'm sure the London period vistas (recently artistically and autentically done in "From Hell") could be very cinematic -- I would love to see it as a film but it will be a much more difficult project.

The response of applause in "Chicago" is unusual for sure -- I wonder if everyone would rise at that point in "Company?"

BTW, what's everyone's favorite production sequence in "Chicago?" Could have posted a poll!

I'm all for a film version of "Company" with Elaine Stritch. She was great in her recent one woman show. They had better not wait too long though. She must be closing in on eighty.

I finally got around to seeing Chicago today. This is one of the best musicals ever.

I have no favorite scene, but one that I liked was Greer's tap dance scene where they switched back and forth but you could always hear the dancing going on during the courtroom parts of the scene.

Catherine Zeta-Jones was spectacular and never to be forgotten. The Mr. Cellophane song was also wonderful.

Lightwizard<

As Chicago gets to more screens, you're going to get even more responses to this thread. Can't wait!

My favorite production numbers from Chicago are all of them. As I have posted here before, Chicago is a visual feast, and every number is a showstopper.

Wm Henry, your review, as usual, was superb. I've always loved your writing and you did yourself proud with Chicago.

Since having an unfortunate altercation with a parking meter and losing, I have been laid up and unable to get out. Will try to see it next week.

Wm Henry--go to the Gathering in Florida thread. Think you can come? I'll finally get to hear you sing!!!!!

Diane<

I am sorry to read of your collision with the parking meter. I wish you a speedy recovery

I am delighted you enjoyed my comments here re: Chicago. Go see it, please, and post your reaction here.

Meanwhile, I will look at the "Gathering in Florida" thread in a day or two.
I'm afraid my singing voice is a bit rusty. But, if I get to join the group, I will tune it up just for you.

Williamhenry3

Thanks for your review. All your enthusiasms are well taken. What a wonderful movie. I saw it four days ago, and I still feel like I'm walking on air.

Hazlitt<

I am glad you saw this wonderful film. I appreciate your noticing my comments on Chicago. There were many more "enthusiasms" I could have written. I can't overpraise the work.

Enjoy "walking on air." It's terrific!