For Feminists, the Elderly and Bandwagon Jumpers
Jan 31st, 2003
Advantages:
easy to understand plot, er . . .
Disadvantages:
songs, acting, characters, the list goes on
Recommendable:
No
Detailed rating:
Did you enjoy it?
Characters / Performances
Soundtrack
How does it compare to similar films?
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 psrose78
About me:
kicking around here & there but no time/motivation to write. Will endeavour to reply to any message...
Member since:07.03.2001
Reviews:32
Members who trust:9
Review rated by 34 Ciao members on average: very helpful
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Intro ----- I first came across this film when I saw a trailer before Die Another Day a while back (now there's a good entertaining film) and was unimpressed with the shameless references to the musical (I know it’s the film version of the musical before you say anything!), the over-choreographed moves, and the 'stunning' tagline (a shame sarcasm doesn't translate too well in the written form):
"A flash of leg, the taste of gin, the smell of corruption, and things that go bump in the night. Anywhere else it would be a crime, but this is Chicago." What utter crap. Of course, all of this was vocalised in an over-emphasised, American, ultra-sales reppie way that Hollywood films are cursed with. So as you can gather, this film wasn't ranking too highly on my must-see list, but as I was owing a favour to a friend, I accepted without objection (because who knows, maybe I would enjoy it after all).
Most people know by now that Chicago is based on the hit Broadway musical, but if that is the extent of your knowledge, here's a quick rundown of it (cheers to the official musical web site for the info). It started back in 1996 (May 2, to be precise) as a concert. Once its success was more assured, preview performances of the musical began on October 29, with the opening coming on November 14. The rest, up until this film, is history. The musical has won numerous awards, and although I am not a huge fan of theatre and musicals, I wouldn't mind seeing it. Plot Outline ------------
The plot is basic and straightforward, with no clever twists or tricks. Please forward on a few paragraphs if you don’t want to find out the plot and you want to go and see the film uninitiated. The first character introduced is Velma
Kelly, who has just shot the other half of her sister act when she caught her husband with her sister. Cue a song (All That Jazz) while it shows Roxie Hart (a wannabe jazz act) murdering Fred Casely after finding out that he didn’t have any contact at the nightclub to get her an act and that he was using her for, er, pleasure. Before the police arrive, Roxie convinces her husband Amos that Fred Casely was a burglar and so he takes the blame for shooting him. Cue another song (Funny Honey) where Roxie sings her thanks, until the police tell Amos that Roxie knew the burglar (in an 'intimate' way) and he decides to let her take the blame.
She is taken away and put in Cook County Jail, with Velma and other murderesses (cue yet another song - Cell Block Tango) and we get introduced to the matron of the jail who has a policy of helping out the residents of the jail in return for 'monetary contributions' (cash). Cue 'When You're Good To Momma'. Momma is helping Velma by pre-booking her appearances after she gets acquitted, and so when Roxie appears Velma is not happy. Roxie proceeds to steal her limelight and her lawyer, Billy Flynn. Billy is introduced by - can you guess? - a song (All I Care About Is Love) and takes on Roxie's case, much to Velma's annoyance. He twists the details of the case in an effort to get the media's attention and sympathy, and in particular from tabloid columnist Mary Sunshine (cue 'A Little Bit Of Good')
Now that all the main characters are introduced, the story continues along, showing the two ladies desperate fight for media attention, and obviously trying to get acquitted as well. I won't reveal how the rest of the story plays out, because that would take another 500 words and you would then know the full plot, subsequently ruling out any real need to go and see the film, which I don't recommend, so maybe I should do it anyway (still with me?!) The Cast --------
The main cast: Catherine Zeta-Jones - Velma Kelly Renee Zellweger - Roxanne 'Roxie' Hart Richard Gere - Billy Flynn Queen Latifah - Matron 'Momma' Morton John C. Reilly - Amos Hart Lucy Liu - Kitty Baxter Christine Baranski - Mary Sunshine Taye Diggs - Bandleader Dominic West - Fred Casely
The three main characters in the film are Velma, Roxie, and Billy. Here's a quick breakdown on them. As Velma Kelly, Catherine Zeta-Jones (or CZJ as the celebrity mags seem to call her - probably can't spell her full name correctly) plays the lead role in the film, and although some people have said she is the strongest in the film (both in terms of character and performance) I actually thought she overacted. When singing with other characters her voice always seemed to be shouting over the others, with little harmony. Maybe I'm being a bit pretentious because I am musically inclined, but then I notice the mistakes and irregularities quite easily.
Although Renee Zellweger became every woman's favourite actress after Bridget bloody Jones, I have never rated her too highly. However, she is easily the best in this film. One thing that I noticed for both CZJ and Renee (look at me with the catchy names, bet I could get a job with 'OK' or 'Hello', or maybe 'Goodbye' or 'F*** Off' - I'm not a great fan of celeb gossip magazines, I don't know whether that shows…) is that they had both lost a lot of weight and had bulging muscles. That sort of thing comes from doing a lot of dancing I know, but jeez, Renee looks like Arnie. Which was ironic, because there was a trailer for Terminator 3 before the film started, maybe she should have auditioned for the lead. The weight loss does not suit her in the slightest (I don't like skinny women anyway) because it makes her face/head look puffed up and monkey-like. Richard Gere is not bad as Billy Flynn, but I can't help feeling that he is slightly too old for a role that is presently portrayed in the real-life musical by Michael 'strained voice perma-frown Beppe' Greco, and soon to be taken over by Philip Schofield. He is a slick and smooth enough actor to pull it off though, despite sounding exactly like a geriatric Dick Van Dyke during his songs, and he has the lead in the best part of the film, which is the musical cut-scene during the song 'We Both Went For The Gun'. This scene features Billy and Roxie as a ventriloquism act, with Roxie as the puppet, and presumably with Billy's hand stuffed somewhere (may explain the odd expression on her face). But seriously, this is the best scene, both for the acting and the song.
Final Thoughts -------------- Being male I suppose I am biased from the start, but it struck me as being a very feminist film. 'He Had It Coming' is one of the songs, which gives you a clue. Other people have said this, but maybe that helps it become a popular feel-good film for the female audience, who knows?
The most ironic thing about this film is that it stars Catherine Zeta-Jones and the main theme is about a desperate media hogging, manipulative girl with fairly little talent. What a perfect piece of casting! The real life reflections are glaring, someone in the casting department must have a wicked sense of humour. This film is being touted as the securing of the musical genre comeback, which was big during the earlier part of the century, and has lain dormant for the last 50 years or so. Maybe there is a good reason why as well. Musicals as films (specifically Moulin Rouge and Chicago) seem to have a two-pronged fan base. The first are the older folk amongst us who remember the genre from first time around, and reminisce happily. The second are the bandwagon jumpers, who see the genre garnering media praise and immediately jump on their fashionable high horses. "Oh yarse yarse, you harve to see Shhhheeeecarrrgo, it's just so happening and now", etc, etc. The fact that they were probably bored stiff when they went to see it, or they were unimpressed with the simplistic plot, is lost on them. Musicals tend to forsake complex and intriguing plots in favour of the songs and the music, which capture the magic of the story for those who are into that sort of thing.
I have nothing against the first prong of the fan base, except the annoying old woman opposite me, who started off tapping along to the songs, then started applauding after each one (they can't hear the clapping you complete idiot, it's a film - if you want to amplify your appreciation, go and watch the live musical). But the second prong should be ignored, because the film really isn't that good, and it would be better to watch this on a Sunday afternoon instead of paying a fiver for the dubious privilege. Not recommended.
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Chicago [DVD] [2003]
Adapted from the long-running stage version, this big-screenChicagois a non-stop ...
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23.04.2003 19:59
its nice once in a while to hear some one who doesn't say that they like it because of the stars involved in the porduction I think the whole tone of your writing is quite appealing which kept me going I think i will stay away form this fil for future reference-keep up the good work cookie_kj xxx
10.03.2003 04:05
This was absolutely, bloody hilarious in its honesty and speculations. Your analysis was so thorough, I may have to see the movie just to enjoy matching your insights to the various aspects of the film. You and I are both music-ruled, so I suspect I'll probably be at least as mortified by CZJ's cat-strangling as you were. Jeez, think of how flattered she'll be if she ever catches a gander of your op and my comment, eh? Lol. --29th
28.02.2003 11:08
I've never liked the sound of this film so I doubt that I'll be watching it anytime soon.A greta op though! Aimee xxxxx