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Review

It's Chicago, 1929 and there's a string of wild, jazz-era murders - women killing men in a jealous rage. It's perfect fodder for a movie musical that's just packed with "razzle-dazzle," sings lawyer Billy Flynn (Gere). The stage version of this hit Broadway musical has been adapted for the screen by Bill Condon (Gods and Monsters) and becomes a remarkable, lively musical film that even non-musical lovers will rave about. The Broadway stage show was adapted from a 1927 silent film that may be lost. Director Rob Marshall (whose only previous directing credit is the TV Annie) delivers a totally appropriate flash in adapting the Kander & Ebb show (which was originally staged by Bob Fosse in 1975). Chicago is a dazzling display of music, editing, dance and technique that will make the spirits soar.

A cynical contemplation of celebrity and crime, the story follows Roxie Hart (marvelously played by Zellweger), who murders her lover and finds in prison the fame that had eluded her in life. With this notoriety comes high-profile attorney Flynn to defend her and literally tap dance his way around the facts, and an almost-friendly rivalry with fellow murderess/prisoner Velma Kelly (the remarkable Zeta-Jones), herself looking for legal, though not necessarily moral, salvation.

If there's any casualty in the transfer from stage to screen, it's Velma, whose part has been significantly reduced to a supporting character. But it doesn’t hurt the story, nor do the missing six songs. Screenwriter Bill Condon (Gods and Monsters) has taken the revue-like stage show and made the musical numbers part of Roxie's fantasy life, and it works exceedingly well. There's an unusual credit at the end of the film, stating that Zellweger, Zeta-Jones and Gere did all their own singing, and for good reason, for all three are in good voice, and will surprise many with their musical talent. In support, Reilly as Roxie's clueless husband and Latifah as a crafty prison matron both shine in their roles, and make the most of their respective solo numbers. Director Marshall, whose staging and editing recall Fosse's own Cabaret at times, has taken a legendary stage production and turned it into a film musical which could be the stuff of legend.

It's a razzle-dazzle tour-de-force - a pulsating, foot-tapping, scintillating masterwork of song, dance and all that jazz.

 -- David Bleiler