Chicago and all that jazz
February 18, 2003 | 12:00am
If you were pleasantly surprised by the tuneful feats of Nicole Kidman and Ewan McGregor in "Moulin Rouge" last year, then get "razzle-dazzled" by the musical acts of Catherine Zeta-Jones, Renee Zellweger and Richard Gere in "Chicago".
Three of Hollywood's current hotshots, who are not exactly well known for their singing expertise, come together to breathe cinematic life to Bob Fosse's 1975 original stage production, doing so with delightful abandon. The result: 13 Oscar nominations including Best Picture and four acting nods.
Of course, credit must go first and foremost to director Rob Marshall, a stage veteran, for engineering this year's conquest of Hollywood by "The Windy City" - that is Chicago. Noteworthy is the fact that it's Marshall's big screen debut. While lacking Baz Luhrmann's fondness for flair and flamboyance, Marshall did well in creating enough stuff to a story that is really no heavyweight. By neatly weaving the dazzling song-and-dance numbers, he managed to keep the viewers interest intact until the closing credits. Marshall begins by introducing to us two women of disparate backgrounds, whose fates run into each other's after some murderous exploits.
In one corner, Zeta-Jones' Velma Kelly, a vaudeville star, who exterminated her husband and her sister, whom she caught while engaged in a not-so-sisterly act. On the other end, Zellweger's sugary Roxie Hart, whose pouting-lips innocence masks her deadly sting. This bad girl with deceptively angelic face has been craving for Kelly's spot in the limelight, which she constantly lives in her imagination. Hart went on to lure movie critics and give Zellweger a spot in the Oscar best actress race. Embracing the two femme-fatales into her prison fold is one big Mama Morton, really big Mama, played by Queen Latifah.
Mama Morton is the manipulative prison matron in the musical. Now, she's even bigger and hotter, what with her Oscar best supporting actress nomination. And rightly so. Watch her belt "When You're Good to Mama" and you will know why. Frankly, she's the only one in the movie who can actually sing. Queen Latifah, the lone black nominee this year, shares her Oscar honor with co-star Zeta-Jones who gave a very energetic performance, most significantly in the "All That Jazz". Then enter Gere's Billy Flynn to the girl's rescue. Flynn boasts of a perfect scorecard as a defense attorney.
This is how Flynn summarizes his record: "If Jesus Christ had lived in Chicago, and if he'd had $5,000, and had come to me--things would have turned out differently." For a steep fee, this brash lawyer not only dispenses his legal services, but also his knack as spin-doctor and media miester. Sensing a great chance to regain their freedom and attain fame, both Velma Kelly and Roxie Hart battle for Flynn's attention and the media spot he created for them. Thus, Flynn's serious "tap dancing" begins. Speaking of which, Flynn, or shall we say Gere, needs more practice. But that's forgivable.
He's still able to deliver "Razzle Dazzle" with finesse. He is still as charming as ever, although that didn't translate into an Oscar best actor nomination for him. One guy who charmed the Oscar voters though, is John C. Reilly. Reilly plays Amos Hart, Roxie's almost clueless husband who still bailed her out despite her adulterous behavior. Reilly's rendition of "Mr. Cellophane" is simply remarkable (less on the singing and more on the solid acting). For that and more, Reilly is nominated as best supporting actor.
Reilly also stars in two other 2003 Best Picture nominees, "The Hours" and "Gangs of New York" completing his Axis of Oscars. Indeed this is Reilly's year. Meanwhile, Roxie's star continues to rise, finally outshining the more vampish Velma Kelly. Aided by the 1920s Chicago media's enormous appetite for sensationalism, which publicity hungry creatures in Manila can relate to, Roxie's fame soared even higher.
But will it stay at that lofty position? Will Roxie's bag of tricks continue to overflow? That’s for Roxie to answer and for you to find out. Without the musical precedence of the much grander "Moulin Rouge" last year, "Chicago" can definitely stand on its own merits. And even without the Oscar buzz, it is still a good watch. So get ready for "Chicago" and all that jazz!
Three of Hollywood's current hotshots, who are not exactly well known for their singing expertise, come together to breathe cinematic life to Bob Fosse's 1975 original stage production, doing so with delightful abandon. The result: 13 Oscar nominations including Best Picture and four acting nods.
Of course, credit must go first and foremost to director Rob Marshall, a stage veteran, for engineering this year's conquest of Hollywood by "The Windy City" - that is Chicago. Noteworthy is the fact that it's Marshall's big screen debut. While lacking Baz Luhrmann's fondness for flair and flamboyance, Marshall did well in creating enough stuff to a story that is really no heavyweight. By neatly weaving the dazzling song-and-dance numbers, he managed to keep the viewers interest intact until the closing credits. Marshall begins by introducing to us two women of disparate backgrounds, whose fates run into each other's after some murderous exploits.
In one corner, Zeta-Jones' Velma Kelly, a vaudeville star, who exterminated her husband and her sister, whom she caught while engaged in a not-so-sisterly act. On the other end, Zellweger's sugary Roxie Hart, whose pouting-lips innocence masks her deadly sting. This bad girl with deceptively angelic face has been craving for Kelly's spot in the limelight, which she constantly lives in her imagination. Hart went on to lure movie critics and give Zellweger a spot in the Oscar best actress race. Embracing the two femme-fatales into her prison fold is one big Mama Morton, really big Mama, played by Queen Latifah.
Mama Morton is the manipulative prison matron in the musical. Now, she's even bigger and hotter, what with her Oscar best supporting actress nomination. And rightly so. Watch her belt "When You're Good to Mama" and you will know why. Frankly, she's the only one in the movie who can actually sing. Queen Latifah, the lone black nominee this year, shares her Oscar honor with co-star Zeta-Jones who gave a very energetic performance, most significantly in the "All That Jazz". Then enter Gere's Billy Flynn to the girl's rescue. Flynn boasts of a perfect scorecard as a defense attorney.
This is how Flynn summarizes his record: "If Jesus Christ had lived in Chicago, and if he'd had $5,000, and had come to me--things would have turned out differently." For a steep fee, this brash lawyer not only dispenses his legal services, but also his knack as spin-doctor and media miester. Sensing a great chance to regain their freedom and attain fame, both Velma Kelly and Roxie Hart battle for Flynn's attention and the media spot he created for them. Thus, Flynn's serious "tap dancing" begins. Speaking of which, Flynn, or shall we say Gere, needs more practice. But that's forgivable.
He's still able to deliver "Razzle Dazzle" with finesse. He is still as charming as ever, although that didn't translate into an Oscar best actor nomination for him. One guy who charmed the Oscar voters though, is John C. Reilly. Reilly plays Amos Hart, Roxie's almost clueless husband who still bailed her out despite her adulterous behavior. Reilly's rendition of "Mr. Cellophane" is simply remarkable (less on the singing and more on the solid acting). For that and more, Reilly is nominated as best supporting actor.
Reilly also stars in two other 2003 Best Picture nominees, "The Hours" and "Gangs of New York" completing his Axis of Oscars. Indeed this is Reilly's year. Meanwhile, Roxie's star continues to rise, finally outshining the more vampish Velma Kelly. Aided by the 1920s Chicago media's enormous appetite for sensationalism, which publicity hungry creatures in Manila can relate to, Roxie's fame soared even higher.
But will it stay at that lofty position? Will Roxie's bag of tricks continue to overflow? That’s for Roxie to answer and for you to find out. Without the musical precedence of the much grander "Moulin Rouge" last year, "Chicago" can definitely stand on its own merits. And even without the Oscar buzz, it is still a good watch. So get ready for "Chicago" and all that jazz!
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