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Chicago (2002)

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1:54 | Trailer
Two death-row murderesses develop a fierce rivalry while competing for publicity, celebrity, and a sleazy lawyer's attention.

Director:

Rob Marshall

Writers:

Bill Condon (screenplay), Bob Fosse (book) | 2 more credits »
Popularity
1,021 ( 223)
Won 6 Oscars. Another 51 wins & 128 nominations. See more awards »

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Cast

Cast overview, first billed only:
Taye Diggs ... Bandleader
Cliff Saunders ... Stage Manager
Catherine Zeta-Jones ... Velma Kelly
Renée Zellweger ... Roxie Hart
Dominic West ... Fred Casely
Jayne Eastwood ... Mrs. Borusewicz
Bruce Beaton ... Police Photographer
Roman Podhora Roman Podhora ... Sergeant Fogarty
John C. Reilly ... Amos Hart
Colm Feore ... Harrison
Rob Smith Rob Smith ... Newspaper Photographer
Sean Wayne Doyle Sean Wayne Doyle ... Reporter
Steve Behal Steve Behal ... Prison Clerk
Robbie Rox Robbie Rox ... Prison Guard
Chita Rivera ... Nickie
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Storyline

Murderesses Velma Kelly (a chanteuse and tease who killed her husband and sister after finding them in bed together) and Roxie Hart (who killed her boyfriend when she discovered he wasn't going to make her a star) find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago. Written by Debpp322

Plot Summary | Add Synopsis

Taglines:

If You Can't Be Famous, Be Infamous. See more »

Genres:

Comedy | Crime | Musical

Certificate:

MG6 | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official site

Country:

USA | Germany | Canada

Language:

English | Hungarian

Release Date:

13 February 2003 (Netherlands) See more »

Also Known As:

Chicago: The Musical See more »

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Box Office

Budget:

$45,000,000 (estimated)

Opening Weekend USA:

$2,074,929, 29 December 2002, Limited Release

Gross USA:

$170,687,518, 4 September 2003

Cumulative Worldwide Gross:

$306,776,732
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | Dolby Digital | SDDS

Color:

Black and White (mock newsreel)| Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

One of 11 American Music/als to win Best Picture: 1)The Broadway Melody (1929), 2)The Great Ziegfeld (1936), 3)Going My Way (1944), 4)An American in Paris (1951), 5)Gigi (1958), 6)West Side Story (1961), 7)My Fair Lady (1964), 8)The Sound of Music (1965), 9)Oliver! (1968), 10)Amadeus (1984), 11)Chicago (2002). See more »

Goofs

In their final dance, Velma and Roxie are presented by someone who speaks on a microphone next to them. However, when the second part of their act is introduced, you can hear the same voice, but the man who was talking on the microphone has turned around looking at the musicians and the microphone is far away from his mouth. See more »

Quotes

Assistant District Attorney Martin Harrison: You mean he was dead when you got home?
Amos Hart: She's got him covered in a sheet and she's telling me this cock-and-bull story about this burglar, and how I ought to say it was me 'cause I was sure to get off. "Help me, Amos," she says, "it's my goddamn hour of need."
[talking over Roxie's singing]
Amos Hart: That cheap little tramp. So she's been two-timing me, huh? Well, I'm through protecting her; she can swing for all I care! Boy, I'm down at the garage working my butt off fourteen hours a day and she's out ...
See more »

Crazy Credits

The end credits are written in Broadway lights. See more »

Alternate Versions

The musical number "Class," featuring Queen Latifah and Catherine Zeta-Jones, was deleted from the final version of the film. However, it was recut into the movie for a brief, extremely limited theatrical re-release in the summer of 2003. It then appeared on DVD as a bonus feature, but was NOT intercut there. See more »

Connections

Featured in Broadway: The American Musical (2004) See more »

Soundtracks

Overture/And All That Jazz
(1975)
Music by John Kander
Lyrics by Fred Ebb
Performed by Catherine Zeta-Jones, Renée Zellweger, and Taye Diggs
Published by Unichappell Music, Inc. (BMI)
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Frequently Asked Questions

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User Reviews

 
Charged, exhilarating, a treat and a surprise.
8 December 2002 | by sw-12See all my reviews

I thoroughly enjoyed the current Broadway stage revival of Chicago -- the Kander and Ebb original, with Bob Fosse choreography, opened in 1975, starring Gwen Verdon (Roxie), Chita Rivera (Velma) and Jerry Orbach (Billy), all proven musical theatre talents. I saw the revival fairly early in its current run, starring Ann Reinking (Roxie), Bebe Neuwirth (Velma) and James Naughton (Billy), who are all proven in musical theatre as well.

The casting of this new film adaptation had me wondering -- Renee Zellwegger (Roxie), Catherine Zeta Jones (Velma) and Richard Gere (Billy)? Sure, they can act, but can they sing and dance?

Big time. The strength of their performances alone is almost enough to carry the film. Whether the stars come by these moves and voices easily, or were rehearsed within an inch of their lives, it's clear they come by them naturally -- they each perform their own songs, and the dance moves are both fluid and stylistically true to the Fosse choreography. Attention to choreographic integrity in this film is to be expected: director Rob Marshall is a choreographer by trade. The sizzling staging of Velma's and Roxie's "Finale" is practically a Fosse quotation from beginning to end, and is razzle-dazzling beyond the stage version, via the cinematography and editing techniques that only the film medium provides.

I was prepared for a watered-down Hollywood take on the wildly popular, 6 Tony Award-winning Broadway revival, but sans the stage talents that got it there. But I actually liked the film BETTER. The film's screenplay adaptation, by Bill Condon, fleshes out the narrative to allow an emotional connection to the characters in a way that I didn't experience in the theater. The film integrates the songs to the story by cutting between an electrifying staged rendition and the 1920's Chicago world of the narrative. This technique gives the characters space for an inner emotional life thus letting the audience better connect with them.

I did have a few quibbles. The song "Class", a personal favorite, was cut, likely to keep the momentum up as we rush toward Roxie's sensational jury trial, which delivers several musical treats of its own, and is the dramatic apogee of the story. And, while I found John C. Reilly a most pathetic but sympathetic Amos, I felt that Joel Grey evoked those qualities much more effectively in his Broadway rendition of "Mr. Cellophane."

The story, while providing an opportunity for some juicy songs and sharply funny characters, is more than just eye candy. Its portrayal of cynical manipulation of the criminal justice system by creating a celebrity-hungry media circus (the raison d'etre of Richard Gere's Billy Flynn) is more than apt today. But if there's any moralizing going on here, it's with a wink and a flash of leg. Chicago is a treat.


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