Review of Chicago (2002) by Will E — 11 Apr 2011

Fun and over-the-top, Chicago is one of the best musicals I've ever come across. The singing is terrific, and the songs are catchier and saucier than most other musicals, with the interesting cuts to the Fusion style cabarets for the numbers being a very effective story telling device.

Most of the songs are terrific, with a special mention to 'When You're Good To Mama' and of course, 'Cell Block Tango'. 'When You're Good To Mama' is a suggestive and amusing piece sung with astounding talent by the voluptuous Queen Latifa, whose powerful voice not only aids her singing but also fits the role of prison matron perfectly. 'Cell Block Tango', a well-known song from the film and the original stage musical, is an especially rousing song featuring alarming and overtly sexual visuals coupled with the violent and powerful lyrics. Catherine Zeta-Jones brings her singing, acting and dancing talents to the movie and manages to steal every scene she's in, unless of course Queen Latifa happens to be there.

But there are faults in this delightful musical, mostly being issues with casting and characterisation. First and foremost, Renee Zellweger fails to truly engage the audience in her role as Roxie Hart, the protagonist of the story. Her blights and misfortunes are overshadowed by Zellweger's inability to build a sense of empathy and her character's lack of redeeming or sympathetic qualities. 'Cell Block Tango' brings to light the crimes of six very intriguing women, four of whom are never mentioned outside of the seven and a half minute song, which is a fairly interesting decision from the makers of the film. However, one must question the inclusion of the song, whether or not it is the highlight of the movie. It highlights the double standard of violence, with men committing violence against women a deplorable act (and rightly so...) but with women doing the same to men often (not all the time) seen as justified or even right. Perhaps this is simply a natural evolution from a couple decades ago when the opposite was more true... whichever way, I'm getting sidetracked.

The musical numbers performed by the men are lackluster in comparison to that of the women. Richard Gere's role is important but his songs and his dance number seem superfluous, while John C. Reilly manages to convey some sympathy in 'Mister Cellophane', even if it's not a particularly moving or captivating performance.

Visually, Chicago is a feast. Almost every dance number is a almost orgasmic concoction of burlesque and pure tease. Catherine Zeta-Jones shows off her moves to a pulsating drum beat in 'I Can't Do It Alone', at the same time subtlely seducing Roxie Hart. Renee Zellweger's best moments are when she is dancing or singing, where she can show off her surprising talents whilst not actually acting.

Chicago's racy nature and intriguing premise cultimate in a terrific and fun film. Sure the men lack the talents and draw of the women, but overall this film is about the ladies, and their powers and rights. Evocative, Chicago is as much a dressed up and danced out morality tale as a soft-core porn movie, and is there a better mix in film?

My Score: 80%.

Standardised: 60%.