Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
"Chicago" continues the reinvention of the musical that started with "Moulin Rouge." Although modern audiences don't like to see stories interrupted by songs, apparently they like songs interrupted by stories. The movie is a dazzling song and dance extravaganza, with just enough words to support the music and allow everyone to catch their breath between songs. You can watch it like you listen to an album, over and over; the same phenomenon explains why "Moulin Rouge" was a bigger hit on DVD than in theaters.
The movie stars sweet-faced Renee Zellweger as Roxie Hart, who kills her lover and convinces her husband to pay for her defense; and Catherine Zeta-Jones as Velma Kelly, who broke up her vaudeville sister act by murdering her husband and her sister while they were engaged in a sport not licensed for in-laws. Richard Gere is Billy Flynn, the slick, high-priced attorney who boasts he can beat any rap, for a $5,000 fee. "If Jesus Christ had lived in Chicago," he explains, "and if he'd had $5,000, and had come to me--things would have turned out differently." This story, lightweight but cheerfully lurid, fueled Bob Fosse, John Kander and Fred Ebb's original stage production of "Chicago," which opened in 1975 and has been playing somewhere or other ever after--since 1997 again on Broadway. Fosse, who grew up in Chicago in the 1930s and 1940s, lived in a city where the daily papers roared with the kinds of headlines the movie loves. Killers were romanticized or vilified, cops and lawyers and reporters lived in each other's pockets, and newspapers read like pulp fiction. There's an inspired scene of ventriloquism and puppetry at a press conference, with all of the characters dangling from strings. For Fosse, the Chicago of Roxie Hart supplied the perfect peg to hang his famous hat.
The movie doesn't update the musical so much as bring it to a high electric streamlined gloss. The director Rob Marshall, a stage veteran making his big screen debut, paces the film with gusto. It's not all breakneck production numbers, but it's never far from one. And the choreography doesn't copy Fosse's inimitable style, but it's not far from it, either; the movie sideswipes imitation on its way to homage.
The decision to use non-singers and non-dancers is always controversial in musicals, especially in these days when big stars are needed to headline expensive productions. Of Zellweger and Gere, it can be said that they are persuasive in their musical roles and well cast as their characters. Zeta-Jones was, in fact, a professional dancer in London before she decided to leave the chorus line and take her chances with acting, and her dancing in the movie is a reminder of the golden days; the film opens with her "All that Jazz" number, which plays like a promise "Chicago" will have to deliver on. And what a good idea to cast Queen Latifah in the role of Mama, the prison matron; she belts out "When You're Good to Mama" with the superb assurance of a performer who knows what good is and what Mama likes.