MOVIE REVIEW: ‘Chicago’ is sultry, sexy and sophisticated — Grade A-
It is sultry, sexy, sophisticated, pointed and, at times, a little jaded — everything a movie should be and more.
This is not some personal quest for gratification. It is not a flimsy attempt to make a quick buck in an industry flooded with mediocre celluloid. “Chicago” lights up the screen and dances its way into your mind.
Movie musicals, though once popular as an American standard in film-making, have been few and far between in a market filled with explosions and action heroes.
“Chicago” has proven a worthy oracle to a music-deprived theater experience.
It’s not perfect. Not all of the singing is the highest standard, there are some flaws in the storytelling and some of the casting choices may not have been the strongest, but this is one hell of a good movie.
A large part of this is due to the score, which plays a pivotal part in the success of this movie. John Kander and Fred Ebb wrote brilliant music that showcases the satirical view of the world without slapping anyone across the face. They based their original Broadway production on real events; it’s not hard to see where they chose to make some very sharp observations about the world around them.
It has been more than 30 years since we’ve seen a movie featuring their music. The last was “Cabaret,” which redefined the whole movie musical and is what viewers should expect.
But enough about the history, back to the movie.
Kudos to Renée Zellweger and Richard Gere for taking on roles in a musical. Both seemed a little ill fit for the production, but they handled it well and found layers in the characters that added a little zest to the parts (I can say this after having seen the stage production in London and New York).
Zellweger was an odd choice for me, but the crafting of her screen image was brilliant. The Marilyn Monroe-esque costumes sparkled. She gave Roxie Hart a human side that was almost lacking on stage. This wannabe, set on having the perfect vaudeville career, gives us every song in the show in the form of her imagination. She was sharp and believable.
The real winner, though, is Catherine Zeta-Jones. The girl can sing. She can dance. She is perfect for the role as the smoldering, brash killer. She has the strongest voice of the three leads, and as an actress she crafts her role well. It was almost as if she was born to play the musicals and has never been given the chance. She is a revelation of sorts with her knock-em-dead performance.
Another surprise was the casting of Queen Latifah in the role of the prison matron, Mama Morton. Though it may have been a little shrewd, it was a good call on director Rob Marshall’s part. She was natural and added some warmth to an otherwise dreary part.
Above all of that, the movie is also visually stunning. Musical numbers like “Cell Block Tango” and “Roxie” are breathtaking. Enough said.
“Chicago” is a welcome return to a time-honored cinema tradition. It is refreshing to see someone willing to return to a genre that has been all but dread and pep it up with a little jazz-infused “Razzle Dazzle.”
Justin Berry is working toward his second bachelor’s degree in theater performance. Comments can be sent to justinsb26@hotmail.com.