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'Chicago' sings, swings, presents allegory
Published:
Monday, February 17, 2003
by Adam Johnsen
When you see a movie after its been honored with numerous awards and nominations, the odds are more than fair that you're setting yourself up for disappointment. The film gets built up in your head and though it may be good, it's hard to live up to all the hype.
Such was not the case with "Chicago," the film adaptation of the hit Broadway musical that received an impressive 13 Oscar nominations this past week. Indeed, the movie more than lived up to my expectations. From the catchy songs to the brilliant direction by first-time director Rob Marshall, the film is filled to the brim with "all that jazz."
"Chicago" looks as though it may usher in a new era of movie musicals, following Baz Luhrmann's acclaimed "Moulin Rouge." Besides merely being a musical, "Chicago" seems to have picked up on another selling-point from Luhrmann's film: the actors did all of their own singing and dancing, an uncommon feat for a film featuring a cast not known for their vocals.
Going into the film, I had to overcome the handicap of being rather prejudiced against lead actors Renee Zellweger and, in particular, Richard Gere. These two, more than any other actors in recent memory, have had a habit of getting under my skin in nearly every film they're in. However, to my surprise, they turned out to be an amazingly engaging, electric duo in this one. Gere's vocals sound as though they're being performed by a professional, while both he and Zellweger add just the right amount of sass to make their characters both likable and diabolical.
As expected, Catherine Zeta-Jones turns in a larger-than-life performance with her incredible song-and-dance talent, not to mention those jaw-dropping good looks.
Though the performances are certainly above par, the real joy of watching this film is its distinct visual flair. The prohibition-era fantasy contains some of the most vivid colors, as well as some of the most brilliant lighting design ever put on film.
Clearly Marshall's background in theater was a great asset in that the film utilizes the best elements of both the stage and the cinema to create a fantastic adrenaline-shot of a film that more than lives up to the hype.
by John Behling
I agree with Adam that when a movie is showered in nominations, advertised to the point of mass cultural over stimulation and thoroughly drenched in critical accolades, there's a good chance it won't live up to the hype. However, to some extent, this film does.
"Chicago" is a "good" film. It brings the audience song, dance, stars, laughs, shrieks, smiles, (tears?) and a renewed enthusiasm for our friends in Hollywood, the curators of that wonderful and sacred cinematic art and the elder gods of our weekend entertainment.
But why does this leave me with a bad taste in my mouth? From the second "Chicago" started to the ending credits there was a voice in my head, a bitter, evil satiric gremlin that shouted "ALLEGORY! This is an ALLEGORY."
This is about Hollywood; this is about the song and dance of the entertainment industry. This is the film that tells us that Richard Gere can sing and dance, that we should feel some extraordinary sentimental attachment to the upscale musicals of the classic studio era and that actors make fine replacements for professional singers and dancers.
Although Catherine Zeta-Jones and Renee Zellweger do prove they can sing and act at the same time, the real surprise is character actor John C. Reilly.
Not only is he at his best in his poor gullible husband routine, but he also sings at the level that one would expect from a musical.
This cannot be said, however, for Richard Gere. I cannot in anyway defend whoever chose this abnormally bad actor for "Chicago." His singing is on the level of someone who partakes in the occasional drunken sing-along yet knows better than to try to make an attempt at "American Idol." His dancing is even worse, thoroughly demonstrated in an otherwise great scene where his tap dance is likened to a courtroom swindle.
One could give credit to director Rob Marshall, who skillfully avoids showing Gere's feet for most of his solo, which to me looks like the tap-dance equivalent to the mashed-potato (everyone can do it.. but is it really dancing?)
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