Moulin Rouge was a big event at the turn of the century. The Australian production directed by Baz Lurhmann brought renewal to a genre, let's say, "forgotten" at that time. The success of the film was echoed in the main awards of the time and opened the doors for a new sequence of musicals that would premiere soon after, Chicago being one of these productions. John Kander and Fredd Ebb, responsible for the music and lyrics, respectively, of the first edition of the theatrical version of Chicago, in 1975, joined the producers and filmmaker Rob Marshall, in his first directing work for cinema, with a view to adaptation of the play to cinematographic language.
The story of Chicago consists of two women, a famous dancer, Velma Kelly (Catherine Zeta-Jones), and another who dreams of being on stage, Roxie Hart (Renée Zellweger), who murder their lovers in the same period and are arrested in the 1960s. 1920. In the same jail, they realize that the secret to being released and remaining in stardom is to get the attention of the sensationalist press. Then comes the lawyer Billy Flynn (Richard Gere), a specialist in creating images and narratives for his clients that moved journalists and the audience. The first to use the strategy was Velma. When Roxie starts to take the spotlight, the two begin to compete for the spotlight.
The work is a harsh criticism of American society, its legal system and social conventions. However, Chicago's message can be understood not only in the United States, but with an almost universal and timeless character. Even 20 years after its release, it is still common to observe how certain sectors of the media are sensationalist and provide biased coverage of criminals. The notion of right or wrong is another one that remains nebulous in several episodes: can the personality, image and - even - the beauty of someone who committed a criminal offense serve as a safe conduct? The film invites us to reflect on who we are making famous, which remains extremely current.
The production creates an almost noir atmosphere, which to me makes perfect sense, as it seems to combine very well with the musical genre featured in this film, Jazz. The costumes, the constant appearance of someone smoking, the corruption easily noticed in prison, by the presence of the character Mamma Morton (Queen Latifah), all these aspects combined manage to create a very strong contextualization and transport the viewer to the city of Chicago in the 1920s .
Bill Condon's script manages to rise thanks to the excellent musical numbers, material adorned by the efficient Art and Costume Direction, related to the edition, sectors, deservedly, duly awarded. The musicals, as a means of introducing the characters, work very well, the spectator is able to understand the personality of each person, presented with ease, after all, the songs cannot go on for a long time and they are enough, for the women that Roxie knows in the prison, their presentations generate a certain duality, which in this case is great, because it makes them intriguing, as they sing about the crime they committed, because it is about their points of view, it generates a questioning of who would be correct in each one of situations.
Here, the musical numbers take place in the imagination of the characters, it seems that especially in Roxie's. The format helps to foster the profiles of illusions and fantasies characteristic of people dazzled by fame and success. The jazz-filled song and dance performances are theatrical. Everything fits perfectly into the show, the lighting work is fantastic - the lights play an important role in the proposed drama -, the instrumentals are impeccable and the lyrics are intelligent. However, the biggest highlight is the talent of the actors.
Owner of an enviable physical form and remembering her times as a professional dancer, Zeta-Jones is, without a doubt, the great asset of the film: with a seductively hoarse voice and with elegant and precise movements, the actress demonstrates to possess a presence that nothing leaves her wish about the great stars of the musical genre. You almost forget that she is a supporting character. When talking about the feature, the first thing that comes to mind is her memorable character Velma Kelly with the iconic bob haircut - which the actress did not give up, as she did not want her strands to fall on her face and there were questions if it was really she performing. Catherine made the list of great Hollywood actresses by showing that she could achieve excellence in acting, singing and dancing - all at the same time, including. His strong and tuned voice brightened the legendary numbers of "All That Jazz" and "I Can't Do It Alone". "Cell Block Tango" is another unforgettable moment between Velma and the other inmates - kudos to the choreographers and lighting director of the act. Her dancing prowess came as no surprise to anyone following the artist's career, who debuted on stage in the musical "Annie" at age 12 and participated in a dance company in Wales, where she was born. The actress's presence on the scene has a magnetism and helps to highlight her even more.
On the other hand, Zellweger, despite working very well in scenes that do not require her character to dance or sing, never stands out when Roxie assumes the role of star, since, at these moments, her technical limitations become visible. Of course, there are those who argue that this limitation of the actress is more than appropriate, since Roxie is also a mediocre dancer - an argument that I disagree with, since most of the musical numbers take place in the girl's imagination (and I have never heard of anyone who, in her own fantasies, portrayed herself in an ordinary way). Still, Zellweger deserves credit for competently assuming a character quite different from her usual type: unlike sympathetic creations like Bridget Jones or the young ladies of Jerry Maguire and Nurse Betty, Roxie Hart is a mischievous and even cruel woman.
Another who suffers because of his meager skills as a singer and dancer is Richard Gere (note, for example, the way he wastes a tap dance number) - who, despite this, also works well in scenes where his character does not. Acts as the protagonist of a musical. Billy Flynn is, incidentally, a very interesting figure, as he perfectly understands the importance of the media in his profession, intelligently exploiting journalists' thirst for scandals. The lawyer knows that, deep down, every trial is a spectacle. Rounding out the cast with talent and competence is John C. Reilly (one of my favorite actors, who deserved to be recognized thanks to his performances in Boogie Nights and Magnolia, among others) as the husband of Roxie Hart, and Queen Latifah as the director of the penitentiary.
Technically perfect, Chicago has a beautiful art direction, luxurious costumes suitable for the various musical numbers and photography that properly enhances the glamor of the production. In the same way, editing by Martin Walsh is skillful in interweaving reality and fantasy, giving dynamism to the story scripted by Bill Condon. It is a pity, therefore, that director Rob Marshall does not make more efficient use of the talent of his collaborators: making his film debut after a successful career on Broadway, Marshall never exploits the potential of the story, as he elaborates on the musical numbers (he is also the production's choreographer) as if he were directing a theatrical show, not a film. So, despite the good ideas behind each frame (like the one where we see Richard Gere manipulating the media), Chicago only takes the viewer's breath away on a few occasions, which is unfortunate.
The fact is that Rob Marshall ends up being a victim of the old problem of the "fourth wall" - the one that, hypothetically, should separate the audience from what happens on screen. Obviously influenced by his own stage experience, the filmmaker does not allow the camera to delve into the musical numbers, letting it only observe, from the "audience", the actors' performance. If he had made better use of the cinematic resources at his disposal (something Baz Luhrmann did with great competence in Moulin Rouge), Marshall could have turned Chicago into an absolutely breathtaking film, which is not the case.
This is definitely not Moulin Rouge, for example, with all its visual rapture and stylistic exaggeration. Everything is very theatrical, and what we see is almost a filmed show, and not an expression of a different artistic medium. It's not cinema, it's theater. And this, at the same time that it enchants on its own merits, disappoints on account of its equal deficiencies. What you get is the impression that it could go far beyond what is shown, but its conductors lacked the courage and originality to dare such an ambition. To make matters worse, some Chicago moments sound embarrassingly familiar: the sequence depicting a character's hanging, for example, is quite similar to the one in which we see Bjork walking towards the scaffold, in the excellent Dancing in the Dark (another musical that relies on fantasies). Of the protagonist to work). In both cases, the execution is portrayed in an allegorical way, which is curious.
But it must be agreed that, decades after its release, "Chicago" is still up-to-date and an eye-popping film. With drama, humor, acidity, intelligence, jazz and charm, the feature film continues to excite and has not lost its position as one of the best adaptations of a play for cinema. In a combo of spectacular and aligned performances by direction, script, actors and crew, the work consolidates itself as a classic.
The story of Chicago consists of two women, a famous dancer, Velma Kelly (Catherine Zeta-Jones), and another who dreams of being on stage, Roxie Hart (Renée Zellweger), who murder their lovers in the same period and are arrested in the 1960s. 1920. In the same jail, they realize that the secret to being released and remaining in stardom is to get the attention of the sensationalist press. Then comes the lawyer Billy Flynn (Richard Gere), a specialist in creating images and narratives for his clients that moved journalists and the audience. The first to use the strategy was Velma. When Roxie starts to take the spotlight, the two begin to compete for the spotlight.
The work is a harsh criticism of American society, its legal system and social conventions. However, Chicago's message can be understood not only in the United States, but with an almost universal and timeless character. Even 20 years after its release, it is still common to observe how certain sectors of the media are sensationalist and provide biased coverage of criminals. The notion of right or wrong is another one that remains nebulous in several episodes: can the personality, image and - even - the beauty of someone who committed a criminal offense serve as a safe conduct? The film invites us to reflect on who we are making famous, which remains extremely current.
The production creates an almost noir atmosphere, which to me makes perfect sense, as it seems to combine very well with the musical genre featured in this film, Jazz. The costumes, the constant appearance of someone smoking, the corruption easily noticed in prison, by the presence of the character Mamma Morton (Queen Latifah), all these aspects combined manage to create a very strong contextualization and transport the viewer to the city of Chicago in the 1920s .
Bill Condon's script manages to rise thanks to the excellent musical numbers, material adorned by the efficient Art and Costume Direction, related to the edition, sectors, deservedly, duly awarded. The musicals, as a means of introducing the characters, work very well, the spectator is able to understand the personality of each person, presented with ease, after all, the songs cannot go on for a long time and they are enough, for the women that Roxie knows in the prison, their presentations generate a certain duality, which in this case is great, because it makes them intriguing, as they sing about the crime they committed, because it is about their points of view, it generates a questioning of who would be correct in each one of situations.
Here, the musical numbers take place in the imagination of the characters, it seems that especially in Roxie's. The format helps to foster the profiles of illusions and fantasies characteristic of people dazzled by fame and success. The jazz-filled song and dance performances are theatrical. Everything fits perfectly into the show, the lighting work is fantastic - the lights play an important role in the proposed drama -, the instrumentals are impeccable and the lyrics are intelligent. However, the biggest highlight is the talent of the actors.
Owner of an enviable physical form and remembering her times as a professional dancer, Zeta-Jones is, without a doubt, the great asset of the film: with a seductively hoarse voice and with elegant and precise movements, the actress demonstrates to possess a presence that nothing leaves her wish about the great stars of the musical genre. You almost forget that she is a supporting character. When talking about the feature, the first thing that comes to mind is her memorable character Velma Kelly with the iconic bob haircut - which the actress did not give up, as she did not want her strands to fall on her face and there were questions if it was really she performing. Catherine made the list of great Hollywood actresses by showing that she could achieve excellence in acting, singing and dancing - all at the same time, including. His strong and tuned voice brightened the legendary numbers of "All That Jazz" and "I Can't Do It Alone". "Cell Block Tango" is another unforgettable moment between Velma and the other inmates - kudos to the choreographers and lighting director of the act. Her dancing prowess came as no surprise to anyone following the artist's career, who debuted on stage in the musical "Annie" at age 12 and participated in a dance company in Wales, where she was born. The actress's presence on the scene has a magnetism and helps to highlight her even more.
On the other hand, Zellweger, despite working very well in scenes that do not require her character to dance or sing, never stands out when Roxie assumes the role of star, since, at these moments, her technical limitations become visible. Of course, there are those who argue that this limitation of the actress is more than appropriate, since Roxie is also a mediocre dancer - an argument that I disagree with, since most of the musical numbers take place in the girl's imagination (and I have never heard of anyone who, in her own fantasies, portrayed herself in an ordinary way). Still, Zellweger deserves credit for competently assuming a character quite different from her usual type: unlike sympathetic creations like Bridget Jones or the young ladies of Jerry Maguire and Nurse Betty, Roxie Hart is a mischievous and even cruel woman.
Another who suffers because of his meager skills as a singer and dancer is Richard Gere (note, for example, the way he wastes a tap dance number) - who, despite this, also works well in scenes where his character does not. Acts as the protagonist of a musical. Billy Flynn is, incidentally, a very interesting figure, as he perfectly understands the importance of the media in his profession, intelligently exploiting journalists' thirst for scandals. The lawyer knows that, deep down, every trial is a spectacle. Rounding out the cast with talent and competence is John C. Reilly (one of my favorite actors, who deserved to be recognized thanks to his performances in Boogie Nights and Magnolia, among others) as the husband of Roxie Hart, and Queen Latifah as the director of the penitentiary.
Technically perfect, Chicago has a beautiful art direction, luxurious costumes suitable for the various musical numbers and photography that properly enhances the glamor of the production. In the same way, editing by Martin Walsh is skillful in interweaving reality and fantasy, giving dynamism to the story scripted by Bill Condon. It is a pity, therefore, that director Rob Marshall does not make more efficient use of the talent of his collaborators: making his film debut after a successful career on Broadway, Marshall never exploits the potential of the story, as he elaborates on the musical numbers (he is also the production's choreographer) as if he were directing a theatrical show, not a film. So, despite the good ideas behind each frame (like the one where we see Richard Gere manipulating the media), Chicago only takes the viewer's breath away on a few occasions, which is unfortunate.
The fact is that Rob Marshall ends up being a victim of the old problem of the "fourth wall" - the one that, hypothetically, should separate the audience from what happens on screen. Obviously influenced by his own stage experience, the filmmaker does not allow the camera to delve into the musical numbers, letting it only observe, from the "audience", the actors' performance. If he had made better use of the cinematic resources at his disposal (something Baz Luhrmann did with great competence in Moulin Rouge), Marshall could have turned Chicago into an absolutely breathtaking film, which is not the case.
This is definitely not Moulin Rouge, for example, with all its visual rapture and stylistic exaggeration. Everything is very theatrical, and what we see is almost a filmed show, and not an expression of a different artistic medium. It's not cinema, it's theater. And this, at the same time that it enchants on its own merits, disappoints on account of its equal deficiencies. What you get is the impression that it could go far beyond what is shown, but its conductors lacked the courage and originality to dare such an ambition. To make matters worse, some Chicago moments sound embarrassingly familiar: the sequence depicting a character's hanging, for example, is quite similar to the one in which we see Bjork walking towards the scaffold, in the excellent Dancing in the Dark (another musical that relies on fantasies). Of the protagonist to work). In both cases, the execution is portrayed in an allegorical way, which is curious.
But it must be agreed that, decades after its release, "Chicago" is still up-to-date and an eye-popping film. With drama, humor, acidity, intelligence, jazz and charm, the feature film continues to excite and has not lost its position as one of the best adaptations of a play for cinema. In a combo of spectacular and aligned performances by direction, script, actors and crew, the work consolidates itself as a classic.