Chicago was written way back in 1926 as a play, became a non musical film in 1942 starring Ginger Rogers, and a stage show which opened in 1975 to mixed reviews. However it's recent revival on Broadway and the West End has been very well received, meaning the timing of the film version could not be better. The story stays quite true to the original, set in 1920's Chicago which is a vibrant city of Jazz, sex, crime and media hype, where fame, or notoriety, is everything. Roxie Hart (Zellweger) is the wannabe star that is imprisoned for shooting her lover. There she meets fellow murderess, and famous jazz performer, Velma Kelly (Jones) who is using the media to increase her fame and win her freedom. Roxies attempts at friendship are rebuked and so she hires Velmas lawyer, razzle dazzler Billy Flynn (Gere), in order to play the same game, and a battle for column inches begins as they both try to avoid being hanged.
Chicago is packed with musical segments, which could alienate the audience, but the songs are of such great quality that they will be running through your head long after you leave the cinema. "All that Jazz" is obviously a classic, and both female stars have surprisingly good voices, but it is Gere that brings an added zest to his songs, especially with "We Both Reached for the Gun" and "Razzle Dazzle" which will make you want to stand and applaud the screen. Gere often plays roles in which he takes second place to the female lead and allows his co-stars to take centre stage, but here he gets a chance to shine and have fun. He does this superbly with a stunningly charismatic performance of the manipulative and devilish Billy Flynn. Men will want to be him and women will want to be with him, in this film Richard Gere is God. It will make you want to rent out his entire back catalogue.
The ladies fare less well, with the masculine, vampish Velma and innocent doll like Roxie almost bordering on being a women in cages lesbian stereotype. Thankfully the two stars steer their characters away from that (just) and both add a vulnerability that makes us want to protect them, even if we don't like them. That is impressive considering how shallow the characters actually are.
The support casts performances surpass the female stars, especially John C Reillys endearing and pitiful performance of Roxies trod upon husband, and Queen Latifah as Matron "Mama" Morten who gives the only sensuous performance in the film, which is surprising considering how many scantily clad ladies there are.
This is a wonderfully nostalgic film that captures the mood of the era and has a great deal of relevance in today's fame obsessed, spin doctoring world in which money buys freedom and media is truth. Unfortunately it is too stagey, and it is often only the bright lights and glitter that holds your attention. However, it should make you want to go to the Theatre, which is never a bad thing.
Chicago is packed with musical segments, which could alienate the audience, but the songs are of such great quality that they will be running through your head long after you leave the cinema. "All that Jazz" is obviously a classic, and both female stars have surprisingly good voices, but it is Gere that brings an added zest to his songs, especially with "We Both Reached for the Gun" and "Razzle Dazzle" which will make you want to stand and applaud the screen. Gere often plays roles in which he takes second place to the female lead and allows his co-stars to take centre stage, but here he gets a chance to shine and have fun. He does this superbly with a stunningly charismatic performance of the manipulative and devilish Billy Flynn. Men will want to be him and women will want to be with him, in this film Richard Gere is God. It will make you want to rent out his entire back catalogue.
The ladies fare less well, with the masculine, vampish Velma and innocent doll like Roxie almost bordering on being a women in cages lesbian stereotype. Thankfully the two stars steer their characters away from that (just) and both add a vulnerability that makes us want to protect them, even if we don't like them. That is impressive considering how shallow the characters actually are.
The support casts performances surpass the female stars, especially John C Reillys endearing and pitiful performance of Roxies trod upon husband, and Queen Latifah as Matron "Mama" Morten who gives the only sensuous performance in the film, which is surprising considering how many scantily clad ladies there are.
This is a wonderfully nostalgic film that captures the mood of the era and has a great deal of relevance in today's fame obsessed, spin doctoring world in which money buys freedom and media is truth. Unfortunately it is too stagey, and it is often only the bright lights and glitter that holds your attention. However, it should make you want to go to the Theatre, which is never a bad thing.