Velma deceitfully slides up to Roxie, trying to convince her to team up as an act. She bursts out into a jazzy exhibition with every bit of natural entertaining ability she possesses. Roxie, showing her true colors since she is now in the limelight, fends off Velma as swiftly as she had come. Now the plot grows with more greed and even more temptation for fame.
Catherine Zeta-Jones fired up the audience as Velma in this interpretation of the musical Chicago. Her voice was POWERFUL. Her character was callous. She is quickly becoming a forgotten star while sitting behind bars, due to murdering her sister and her boyfriend. Renee Zellweger showed the intense desperation of Roxie, an incompetent talent trying to make it big. She’s gradually learning the insides of showbiz from the inside of a cell block, since she killed her secret lover.
Richard Gere trounced about the stage showcasing his surprising talents as a spotlight hog himself. As a lawyer, he is all about the money and the girl whose turn it is for fifteen minutes of fame. The prison-bound girls will fight for his brief attention in any way. Queen Latifah, characteristically named Mama, takes care of everything behind the scenes, feeding off of the girls’ attention and needs for her own well-being. John C. Reily fits perfectly as Roxie’s sad, stupid husband, Amos. He breathes off the tabloids just as much as everyone else in Chicago during the 1920’s.
Director, Rob Marshall, displays the deviously minded characters by doing, or showing, whatever it takes to keep the audience’s eyes fixed to the screen. He moves with viciously quick agility, not letting a single scene bore the audience. Almost every shot is left spiced up more than a Girls Gone Wild marathon. That includes all the leg kicking, turns, and sly struts across the screen. The sex appeal left me on the brink of feeling dirty. Any typical man would not have any complaints with any of these details.
The movie portrays the attitude, do whatever it takes to grab the spotlight and hold on. At times the musical numbers seemed out of place, soaking up little attentiveness from the audience. However, they were above outstanding performances. I was expecting to ride home singing All That Jazz. Instead of chanting its catchy tune, I listened to the radio the whole way back. After all the hype died down, and I actually watched the movie I felt inadequate, wanting a little something more. Chicago may only salivate the tongues of musical lovers. It may be up to par enough captivate others in a few key scenes. If you’re not a musical lover though, then those key scenes will make it almost worth while to see this sexy, jazzy adaptation on the big screen.