4.6 99
Director: Rob Marshall

Cast: Catherine Zeta-Jones, Renée Zellweger, Richard Gere


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A starry-eyed would-be star discovers just how far the notion that "there's no such thing as bad publicity" can go in this screen adaptation of the hit Broadway musical Chicago, originally directed and choreographed by Bob Fosse. In the mid-'20s, Roxie Hart (Renee Zellweger) is a small-time chorus dancer married to a well-meaning dunderhead named Amos (John C.See more details below


A starry-eyed would-be star discovers just how far the notion that "there's no such thing as bad publicity" can go in this screen adaptation of the hit Broadway musical Chicago, originally directed and choreographed by Bob Fosse. In the mid-'20s, Roxie Hart (Renee Zellweger) is a small-time chorus dancer married to a well-meaning dunderhead named Amos (John C. Reilly). Roxie is having an affair on the side with Fred Casley (Dominic West), a smooth talker who insists he can make her a star. However, Fred strings Roxie along a bit too far for his own good, and when she realizes that his promises are empty, she becomes enraged and murders Fred in cold blood. Roxie soon finds herself behind bars alongside Velma Kelly (Catherine Zeta-Jones), a sexy vaudeville star who used to perform with her sister until Velma discovered that her sister had been sleeping with her husband. Velma shot them both dead, and, after scheming prison matron "Mama" Morton hooks Velma up with hotshot lawyer Billy Flynn (Richard Gere), Velma becomes the new Queen of the scandal sheets. Roxie is just shrewd enough to realize that her poor fortune could also bring her fame, so she convinces Amos to also hire Flynn. Soon Flynn is splashing Roxie's story -- or, more accurately, a highly melodramatic revision of Roxie's story -- all over the gutter press, and Roxy and Velma are soon battling neck-to-neck over who can win greater fame through the headlines. A project that had been moving from studio to studio since the musical opened on Broadway in 1973, Chicago also features guest appearances by Lucy Liu and Christine Baranski.

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Editorial Reviews

Barnes & Noble
The once-moribund movie musical has been rather spectacularly revived in recent years, but nothing has matched the success of Chicago, Rob Marshall’s eye-popping (and Best Picture-winning) adaptation of the classic Broadway musical originally brought to the stage by Bob Fosse. Adapted by Fosse, Fred Ebb, and John Kander from an earlier play (previously filmed twice, once starring Ginger Rogers), Chicago tells the story of Roxie Hart (Renée Zellweger), a marginally talented Jazz Era wannabe who becomes a Windy City sensation by murdering the duplicitous lover with whom she’d been maintaining an adulterous relationship. While in the Cook County Jail, Roxie grabs more publicity by hiring flamboyant defense lawyer Billy Flynn (Richard Gere), who’s also representing Roxie’s rival, stage star Velma Kelly (Catherine Zeta-Jones). Both women expect to be acquitted in their respective murder trials, thereby gleaning enough publicity to further their show-business careers. Director Marshall, a screen newcomer, pulls off the not-inconsiderable feat of making the Fosse stage play cinematic without sacrificing the stylized artificiality of a theatrical presentation. He does this by juxtaposing narrative material -- shot with all due attention paid to accurately replicating period costuming, hairstyles, and settings -- with expressionistic musical numbers performed on smoky, shadowy, sparsely furnished sets. The legendary Kander-Ebb score receives spirited interpretation by the principal players, all of whom do their own singing and dancing. Virtually every number is a delight, beginning with Velma’s signature tune, "All That Jazz," and including the rollicking "When You’re Good to Mama" (sung lustily by Queen Latifah, who’s brilliant as a cheerfully corrupt prison matron), the poignant "Mister Cellophane" (done to a turn by John C. Reilly, playing Roxie’s dimwitted, cuckolded husband), and the showstopping "Cell Block Tango," "We Both Reached for the Gun," and "Razzle Dazzle." Zeta-Jones, known primarily for her dramatic work, sparkles as Velma; her athletic dancing is a joy to behold. Zellweger is appropriately pert and sassy as the amoral Roxie, and she, too, exhibits a hitherto unsuspected flair for Terpsichore. Chicago is a delight from first frame to last. It’s just like the Roaring '20s during which it is set -- loud, flashy, occasionally vulgar, but joyously uninhibited. We guarantee that one viewing won’t be enough; you’ll want to revisit this movie again and again.
All Movie Guide
If Moulin Rouge heralded the triumphant return of the movie musical, Rob Marshall's rhapsodic rendition of Chicago takes that tendency a welcome two-step further. Using the best capabilities of both stage and screen, Marshall mounts a rousing cinematic achievement that may trump Baz Luhrmann's -- he's filmed a conventionally structured musical that needs no tricks, only its own tight mechanics, to reach across generations of moviegoers. A Broadway chestnut written in the 1970s about the 1920s may not seem ripe with 21st century relevance, but an astonishing cast of performers breathes new excitement into the lyrics and music of John Kander and Fred Ebb and the swagger of playwright/choreographer Bob Fosse. And in Chicago, "performer" is no term of backhanded praise. Renee Zellweger, Catherine Zeta-Jones, and Richard Gere sing every impressive note and cut every impressive groove across each dance floor, their heretofore unknown talents prompting bouts of surprised applause throughout the audience. That they deliver award-worthy acting on top of it is a bonus. But Chicago is as much a triumph of editing as any other attribute. The production numbers run steadily throughout, so Marshall deftly weaves expository passages into the score's quieter moments, the lyrics and images offering a perfect symbiosis of storytelling methods. Martin Walsh's editing also gets its own chance at center stage, notably during the thrilling sequence in which Gere's climactic courtroom speech alternates with footage of the actor engaged in a rapid-fire tap dance. That Chicago also functions as a familiar but juicy indictment of the bloodthirsty media and its fickle readership...well, it leaves a reviewer about as breathless as Zeta-Jones after a spirited romp across the set. Derek Armstrong
Rolling Stone - Peter Travers
Leggy Zeta-Jones is so hot in the 'All That Jazz' number, she's flammable. And Zellweger defines delicious.
Chicago Sun-Times - Roger Ebert
The real star of this movie is the score, as in the songs translate well to film, and it's really well directed.
Hollywood Reporter
Delivers the sexy razzle-dazzle that everyone, especially movie musical fans, has been hoping for.

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Product Details

Release Date:
Original Release:
Miramax Lionsgate
Region Code:

Cast & Crew

Performance Credits
Catherine Zeta-Jones Velma Kelly
Renée Zellweger Roxie Hart
Richard Gere Billy Flynn
Queen Latifah Matron Mama Morton
John C. Reilly Amos Hart
Christine Baranski Mary Sunshine
Lucy Liu Go-to-Hell-Kitty
Taye Diggs Bandleader
Colm Feore Assistant District Attorney Martin Harrison
Dominic West Fred Casely
Roman Podhora Sergeant Fogarty
Rob Smith Newspaper photographer
Scott Wise Ezekial Young
Cliff Saunders Stage manager
Robbie Rox Prison guard
Ken Ard Wilbur
Marc Calamia Hunyak's husband
Ekaterina Chtchelkanova Katalin Hunyak
Sean Wayne Doyle Reporter
Steve Behal Prison Clerk
Bruce Beaton Police photographer
Joey Pizzi Bernie
Mya Harrison Mona
Susan Misner Liz
Jayne Eastwood Mrs. Borusewicz
Deidre Goodwin June
Denise Faye Annie
Paul Bogaev Conductor

Technical Credits
Rob Marshall Director,Choreography
Colleen Atwood Costumes/Costume Designer
Dion Beebe Cinematographer
Jennifer Berman Executive Producer
Paul Bogaev Musical Direction/Supervision
Don Carmody Co-producer
Bill Condon Screenwriter
James Cresson Producer
Sam Crothers Executive Producer
Maureen Crowe Musical Direction/Supervision
David Lee Sound/Sound Designer
Danny Elfman Score Composer
Ali Farrell Casting
Robert Fryer Producer
Julie Goldstein Executive Producer
Myron Hoffert Asst. Director
John Kander Score Composer
Neil Meron Executive Producer
Michael Minkler Sound/Sound Designer
John Myhre Production Designer
Meryl Poster Executive Producer
Martin Richards Producer
Laura Rosenthal Casting
Jordan Samuel Makeup
Gordon Sim Set Decoration/Design
Andrew M. Stearn Art Director
Dominick Tavella Sound/Sound Designer
Martin Walsh Editor
Bob Weinstein Executive Producer
Harvey Weinstein Executive Producer
Craig Zadan Executive Producer

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Scene Index

Disc #1 -- Chicago
1. "And All That Jazz" [7:04]
2. Killing Fred Casely [3:55]
3. "Funny Honey" [5:51]
4. "When You're Good to Mama" [5:37]
5. "Cell Block Tango" [8:10]
6. "All I Care About" [8:36]
7. Sweetest Little Jazz Killer [5:49]
8. "We Both Reached for the Gun" [5:47]
9. "Roxie" [6:42]
10. "I Can't Do It Alone" [6:10]
11. Go to Hell Kitty [5:40]
12. "Mister Cellophane" [4:48]
13. Flash in the Pan [3:48]
14. "Razzle Dazzle" [6:30]
15. Velma Takes the Stand [5:52]
16. A Tap Dance [3:06]
17. The Verdict [3:32]
18. "Nowadays" [4:22]
19. "Hot Honey Rag" [4:06]
20. End Credits [7:47]

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