When
Alan Parker directed a film version of Evita, many thought that it would be the
revitalization of the movie musical. Alas, that underrated film was not a box
office hit. The big surprise came in 2001 with Baz Luhrman's dizzying splendor
Moulin Rouge. That film was a big success, and proved that maybe the movie musical
is still very much alive. Rob Marshall's spectacularly energetic Chicago is even
further proof that a musical can still connect with an audience.
Based
on the Bob Fosse musical, this wonderfully creative movie takes place during the
1920's and features Catherine Zeta-Jones as a famous night club dancer, Renee
Zellweger as a bored housewife who wishes she was a famous night club dancer and
Richard Gere as a media hound of a lawyer who becomes involved in both women's
lives after they are put in jail for murder.
While
director Marshall's approach to the material is extremely theatric, it is also
innovative and highly stylized. Since the musical numbers take place in Zellweger's
mind, Chicago's makers are able to take things to a level that the audience might
not be expecting. Much of the film has a colorful, surreal tone, and while there
is quite a bit of quick cut editing, it always benefits the movie. But it isn't
only the visual flair that makes Chicago work. Bill Condon's terrific screenplay
adaptation is ripe with the perfect dose of satire.
The
big song and dance numbers are expertly crafted. While it would be hard to single
out one musical bit over another, I was quite fond of the puppetry sequence (you'll
know what I'm speaking of when you see the film). I loved it's playful sense of
humor, and found it very amusing. It's also beautifully staged. Certainly, Chicago
makes a strong argument for the inclusion of a choreography category at the Oscars.
Zeta-Jones
is perfectly cast here. She's very comfortable and more than confident. Zellweger
is charming, but isn't always up to the challenge when it comes to the monstrous
musical sequences. The same can be said for Gere who takes a chance here playing
a part unlike any other in his career. As lively as he is, he too seems uncomfortable
in the song and dance sequences. One of my favorite performances comes courteousy
of perhaps the hardest working supporting player in Hollywood, John C. Reilly
(just last year, he appeared in The Good Girl, Gangs of New York and The Hours).
While his character certainly does himself in, my heart was always breaking for
him. All the actors in this picture should be commended for giving their all under
truly demanding circumstances.
I
really loved this movie. It's energetic and full of life. The musical sequences
are awe inspiring, and the look of the picture is spectacular. I wouldn't say
that I liked Chicago more than Moulin Rouge but it was still absolute magic.
