This movie is great because every musical scene is intercut with whats really happening in “reality”. These people aren’t just breaking into song randomly; the songs are more of a representation of whats happening to the characters, and it’s shown in the most clear way I’ve seen in a musical.
@@diagonotter yeah but usually they just straight-up break into song and suddenly they’re dancing in a kitchen or whatever. In this movie, the musical numbers will be portrayed by the actors as they perform an elaborate act on a stage, but then the scene will be intercut with shots of what’s “really” going on. It’s just a nice change of pace in musical filmmaking.
That's what most musicals are, the songs are non-diegetic and are a representation of the characters emotions. Here it's just made extra clear for people who don't get it I guess
My favorite is right after that, with the annoyed sideeye that Billy gives her. Richard Gere conveys a whole scolding with that one glance. So expressive!
It's so good! Even though though she's being told what to say by him, for a splut second, you get to see how she *really* feels. I find his subtle look of surprise very amusing.
When he drinks the milk and sings "gun", it's not just a ventriloquist trick. In this particular scene it is showing how the narrative is taking off without him saying another word.
Don't forget the quick shot of him laughing and throwing his head back as the marionette during the milk drinking "gun" is sang out.... Showing him controlling the narrative right after the shot of all the men opening the newspapers with the headline. So much context and exposition in three quick shots.
She was fantastic throughout. Personally I feel like she was robbed of the Oscar. CZJ was great but a bit hammy for my tastes (although it works in this context) but I felt like Zellweger WAS Roxie, so intense and feral was her performance.
The best part is that it received a lot of inspiration from both the current Chicago revival that's playing along with the original version of the musical that came out in 70s!
The most brilliant part is that his favorite reporter doesn't have the marionette makeup, so it looks like she is special, and it even looks that way as she directs the others--but she still has the strings. That is such a BRILLIANT detail for this number, and I love it.
Legitimately, I thought at some point it would be revealed that she and Billy were in cahoots with each other and purposefully playing off of each other, just because the chemistry between the actors was so *good* on the screen.
I think she's very aware that every word out of his mouth is a lie but she's also happy to play along because it benefits her to print juicy inspiring stories just as much as it benefits him. I wouldn't be surprised if they actually plan out the narratives of some of the more public cases together but I also don't think that's necessary for them since it could also work as an unspoken alliance or symbiotic relationship of sorts
No praise for the make up/hair team yet? I always love how plastic-y/wooden they got all the puppet people to look in this sequence. It legitimately looks uncanny.
one thing is that they edited out all of Renee's blinking, which helps her look like a dummy. Another thing is that they're just seriously good actors. The first time I saw this scene I lost track of the fact Renee was even a human. She's my vote for best actress of the last 30 years: she can be so legitimately smart, stupid, sexy, off-putting, alive, doll-like. I think this was her first singing and dancing and she danced better, frankly than Zeta Jones. Just the few seconds in this clip where she's shown as a human seem so lifelike and reactive compared to the dummy act.
I remember watching this as a child and going back and forth in my mind trying to determine if they had actually made a prop doll for this scene or if it was really her. I don't think I ever actually reached a conclusion until I rewatched it again in college.
The movie Chicago, to me, is the best example of utilizing the medium to the fullest extent to tell a story. There's stuff in the movie you CAN'T do in the live show; cutting, editing, rapid visual juxtaposition. The fact that it keeps cutting back and forth to reality and the style of all these vaudeville showy numbers is narratively perfect for Roxie as character's perception of reality and interpretation of events. She wants nothing more than to be a stage presents so she copes and interprets everything as this whole show. This scene, Roxie's first night in jail (Cellblock Tango), and the execution of the innocent Hungarian woman (Hungarian Disappearing Act) are tremendous examples of the power of editing like this. But the first real example you see of the _effectiveness_ of the editing Chicago is going to utilize throughout the film is the ICONIC moment in All That Jazz when Roxie sees Velma perform and it cuts on the beat closer and closer between Roxie being engrossed in the show and Velma performing, until SHE is on stage singing the final "JAAAAAAAAaaaAAAAAAAAAZZ" note than being dragged away by her date. It PERFECTLY sets up who Roxie is, what her motivation is, how she isn't quite in touch with reality. All the styalization from here on isn't just "this is how Chicago/the director/the author tells a story" but "this is how ROXIE tells a story." And that's AWESOME.
my EXACT THOUGHTS. i watched chicago for the first time the other day and immediately fell in love with it. honestly i thought i was the only one who interpreted that the musical scenes were created by Roxie's imagination
This is how musicals and live action remakes should be redone. They have respect for the original material (you want to see what you love brought to life on the screen) and they build upon it with movie magic to make it better in ways that the original could not. And NOT completely changing the characters’ appearances and personalities or changing main plot points and adding weird backstories like about parents and such.
But didn't they change a significant aspect by making Roxie less malicious? Her killing Fred in a rage after being assaulted is completely different to her cold and calculated murder in the stage musical and is probably the only thing I don't like so much about this adaptation.
@@leonlinton634 was she assaulted though? a genuine question, it's been some time since I watched the movie. I always thought she murdered him because she realized all his promises were a lie and he just used her. she seems kinda into it when they get in on.
@@TheZiraelIn the movie he shoves her violently to the floor and threatens worse; she kills him in a moment of rage and shock. In the stage version, Roxy is fully aware of what she's doing and doesn't show the slightest bit of remorse.
@@leonlinton634I can see where you’re coming from, but this seems like a deliberate choice for a very good reason, considering previous attempts at adapting musicals to movies. Check out “little shop of horrors”, they actually reshot the movie ending after the opening night, because some things just don’t translate well from stage to screen
@@leonlinton634I much prefer the way Roxie murders Fred in the movie. On the stage it just seems too horrible and cold blooded that Roxie seems like a sociopathic monster. In the movie it’s so much more powerful with it happening in a fit of rage and the acting is just superb. It’s a lot more realistic and less jarring; Roxie’s still as unlikeable anyways
Her profile is insanely unique. She looks like those old fashioned silhouette posters from the 20s with her upturned pixie-esque nose. She doesn’t look real.
@@Feisenbach Because it wasnt needed. Fosse didnt care either way. Picked the male to add a shock factor. But since Mary doesnt have her song, there no need for the shock factor. Had they used Mary's song, I'd understand. But in the film, no need.
I've always loved hearing Richard Gere talk about how hard he worked on this picture. A true professional, he had the acting chops for it, but always said how hard he worked to get to the level of Rene, Catherine, and everyone else who came from a musical and dancing background. A true professional works at something until it looks easy, and Richard rehearsed again and again until it was perfect. And this is one of the toughest songs on Broadway, too - you gotta know it inside and out!
This was the last movie I saw physically in a theater with my Mother before she passed. She passed years later, but was in a nursing home for the last ten years of her life and never could physically get to a movie theater again. I’m glad it was a hell of a movie to end her movie theater going on. She loved it!
My comment is a bit off, but similar. My mother loved soap operas (we're Brazilians) and I only succeeded in taking her to the movies once, to watch "Coco" (which is actually about death). She passed away three months later. I've yet to understand what on earth went on. She said, "Waw, if heavens is like that, then it's a good place, party all the time". Yeah, mom, I hope you're partying up there. Sorry for your mom too.
@@duckysguidetoshipping8930 You're never the same after you lose your mother (if she is a loving one, I suppose), but life finds its ways. We plod through the desert of life until we eventually arrive where we're heading to (unokwingly). So I just try to be patient and wait. I hope we'll be together again so we can laugh together at the things we loved to share.
Brilliant movie-making (without CGI) at its finest. I'd kill to see the behind-the-scenes for this scene. It has to be a nightmare with the puppet strings while trying to dance, act, sing. And there's Richard and Rene's incredible timing and sycnronicity.
I heard somewhere that the puppet strings had to be digitally edited in post production because it was too troublesome with real stings. still an amazing scene tho.
Just a small little part I like is when Roxy points her hand out like the gun and it blocks his face and he doesn’t like that because he wants to be the center of attention so he pushes it down. Very subtle but very good.
@@beachchaos1863 I don’t know if that’s why I would assume because at one point he throws her down on the ground just to sing and be the spotlight so watching it back this is all a performance by him really. Which is how he is with all of his friends because he’s more famous than they are. That’s how I interpreted it :)
@@adtu21 well also the idea of him being the puppet master. She’s his puppet, so even in the reality scenes he’s placed in front of the microphones more than she is. She’s kind of off to the side. It’s probably nothing. I’m just looking way too much into this.😂😂
@@Cosmobear Youre not off. Throughout the whole movie he IS manipulating the story because he wants to win. He manipulates her, the reporter, poor Amos and eventually Velma by having her commit perjury. While I dont think her hand popping up meant anything, he HAD to be in control to rule the narrative. I think every "mishap" she has in the dance was controlled by him other than "are you kidding?"
I think Richard Gere did a great job in this movie. And I think he has a decent place as well he should have been included in getting an award. He did a phenomenal job as well as did the others
I'd always understood he wanted, even insisted on being considered for best actor, not supporting, and that if he'd gone with the latter he would have been a shoo-in, at least for a nomination
this scene is a wonderful depiction of what the characters are going through. the way they tied in the reporters being puppets was literally perfection
for instance the first time, Gere does the "both reached for the gun" spiel. Second time he has his doyenne of the press teaching it to the press corps, and the third time the press corps is shouting it in unison.
I’ll never forget being massively entertained with this movie until I saw what happened to the girl who was actually innocent. The tragedy mixed with the amazing vocals and choreography. This movie was soooo good.
Chicago was written by a crime reporter turned playwright as a criticism of a justice system that let pretty, socialite murderesses walk free but punished ugly, older, or poor women. Ekaterina's character (the woman who is executed) is based on Sabella Nitti, a poor Italian immigrant who was the first woman sentenced to death in Illinois. She spoke no English, was 40 and unhandsome, and was an easy scapegoat for the state after 29 women walked free on murder charges and they were eager to have a "win". Her sentenced actually got repealed (a fascinating story - a group of female Italian-origin lawyers took her case pro bono, gave her a makeover, and got the verdict reversed. She was freed until a retrial but a few months later got the quiet announcement the state dropped the charges) but Maurine Dallas Watkins, who wrote the play, had her hanged to make the point. There's a really good episode on the real people that Chicago is based on on the Exploress podcast, "lady killers: the women of Chicago's murderess row". Even the "we both reached for the gun" is a direct quote.
@@SciFiknitter173 Wow! I'm so glad she didn't actually die. Thank you for sharing and for the podcast recommendation, I'm definitely going to check it out :D
21 years of 'oh yes oh yes oh yes they both oh yes they both oh yes they both reached for the gun the gun the gun the gun oh yes they both reached for the gun for the gun' in my mind every two days
@@siobhant6656 My experience, too. People surprisingly say "understandable" a lot. Bonus points for me fighting not to burst out into song especially in professional settings. Haha
Because he has always been seen as some "pretty boy" and not really taken seriously by Hollowwood even after An Officer and A Gentleman. He's had to work twice as hard to be seen as a good actor
@@calarch78I think between this era and Judy, she took a lot not great roles so that might be why. But that probably shouldn't discount what her talent is capable of like in this or Judy. Looking at her catalogue, I would even say there is only one role that utilized her ability after Chicago but before Judy was Cinderella Man. And even that movie always felt like a worse Raging Bull, where she kinda acts around Russell Crowe imo
I love this story because there's a moment as a kid when I realized that none of these people is a good person, they're all horrible, especially Roxy, but they're insanely entertaining characters and that's the magic of movies. Meeting people like that irl would have made me hurl, the movie though makes me grin ear to ear. What a feminist film too! Just outstanding (Probably because it's based on the play, and some people wouldn't compromise that vision). But yeah F word Harvey Weinstein, it's not like I am gonna forget that 😅 Aside from this number, Queen Latifa's song as mama, Roxy's song, and John C Riley's Mr. Cellophane were insanely memorable.
Actually is based on a play based on a novel based on actual events of two criminals. And the "moral" of the real stories was the "if you are pretty,look innocent and have a silver tonge you can get away with murd3r" They were released with many clues pointing premeditation, guiltiness and 0 regrets. But they were just "too pretty". The writer (a journalist, a woman) also has a parody of herself in the character Mary Sunshine.
@@LadyOndyne That's not a moral to the story... As you can see, it's a rather harmful notion to suggest as it's destructive to society. It's supposed to mock reality in this regard. I am aware of the play. This is not the "moral" of the story, it's a cynical comment. It's a feminist movie because it depicts women as not just some helpless doormats, even when a picture is painted about them in the media that they're helpless doormats. In a world where her lawyer exists, Roxie serves like the female equivalent to him. It's not like she was gonna be able to get a JD at the time, but she worked within the confines of the system holding her down, and still managed to come out triumphant.
They were cold blooded murder who got off because of public sympathy. They craved fame and money even more than they cared about their trials.@@samf.s.7731
I think it's her best role. When I first heard that she was going to play Roxie I thought it was an awful idea. Her performance blew me away -- she absolutely nailed it.
The video quality on this improved my eyesight by 100% and paid off my loans. It's like 3D. I've seen other clips of this video but never this clear- bless you
What makes the movie adaptation of "Chicago" really cool is that the narrative proper actually went through VERY few changes. Not much got added and not much cut. All of the biggest changes were completely stylistic which creates completely new context for the musical numbers. This scene actually plays out pretty similarly in the stage production, with Billy Flynn puppeteering Roxie. The biggest difference is that the stage version has more of a satirical edge to it that the movie lacks, so the most logical thing to do was make the musical numbers into completely non-diegetic fantasy sequences. The narrative itself is actually pretty conventional if you cut the songs out, and it allows them to experiment with way more techniques for THIS movie than for other musicals. If the movie had just played the songs as traditional numbers that you usually see in a musical, it wouldn't have allowed for them to make as much of an impact.
I always thought Colleen Atwood did an outstanding job designing all the costumes. Nothing looks out of place for the 1920's but still has a theatrical flair to them.
All the different ways he tries to get sympathy for her are very interesting. She’s an orphan but a good catholic girl, he deliberately doesn’t answer the question about her age so they can pretend she’s younger (more innocent plus halo effect) She fell in love But he was abusive (describing him as a tiger to imply her weakness)
@@Eet_MiaThe Hungarian woman/ballerina is based on a real person (as is Roxie) and IMO her story is the most interesting of the real life inspirations for Murderess Row. The real woman was an Italian immigrant named Sabella Nitti. She was not conventionally beautiful by 1920s standards, which was used by the prosecutor to get her a death sentence despite incredibly flimsy evidence. He literally called the poor woman a beast and suggested that she had the capability to murder because of her looks! Since she couldn't speak English she couldn't advocate for herself. She also had a really incompetent attorney. Fortunately things worked out better IRL than in the musical -- Sabella's situation infuriated a group of attorneys who banded together to help her appeal her case. They also got her a makeover and taught her English, which made the public sympathize with her. She won her appeal and the charges were dismissed before the retrial.
In the stage play Mary Sunshine is played by a man (who's clothes are removed before the last scene) and is generally seen as a hopeless optimistic and really clueless (getting a solo called something like "A little bit of good in everyone"). Here there seems to be something calculating about her and she almost seems to have some sort of an 'agreement' with Billy Flynn. Either way, I love her performance as a puppet/conductor/magician's assistant here.
@@fridakahlo4225she's another version of Roxie and Velma. The idea that cute and attractive on the outside doesn't necessarily mean sweet on the inside.
I prefer this movie to the stage version, actually. I think the costumes and sets and staging really add something and I love that while they kept the spirit of Fosse's choreography, it's loosened up and bigger.
@@jelsner5077well he’s not really supposed to be a GOOD singer, he just has to sound like a shady lawyer trying to play a trick on a nation. the actual quality of the singing matters less than getting that point across imo. he still sounds fine to me tho so
@@lord_ozymandias It's a LEAD role, it's SUPPOSED to be a good voice, NOT a character voice. You should listen to Broadway recordings with a real singer in the role. Night and day. And Gere suffers the comparison.
@@GOwen-vo4xsWell, this scene is a good exhibit of how masterful are the editing, costume design and sound mixing in this movie, which won Oscars for all these.
I saw the stage show in Toronto and Billy was played by Alan Thicke, of all people (RIP). He was so good I could never get behind Gere's voice even though he did fine. He was just missing that low, smooth tone. But this scene is so well directed and edited together to provide the song more context. A well-deserved award.
This entire movie was amazing, one of my top 10 of all time excluding, of course, anything animated or highly nostalgic (which messes with objectivity).
Is it an unpopular opinion if I say the movie is better than the stage production? 😬 Granted, I’ve only seen it once and it was a college production. Also, Rob Marshall is brilliant! Along with the wonderful cast of the movie 👏👏
I think part of that might be because there are things in the movie that you just can't do on the stage. Specifically, the cuts between the vaudeville-style stage productions and the gritty reality of the situation in each song. It's an incredibly clever way of embracing the theatrical elements of the story while still keeping it set firmly in the real world.
@@strawberrys0da714I agree. It’s one style of movie musical I like; reality with a clear distinction between story and music. Cabaret is similar. On the other end of the spectrum is Moulin Rouge where it’s so stylised and nutty that breaking out into song is par for the course.
You're fine. Just because it's a stage production doesn't mean it's any good. Lord knows there are plenty of mediocre shows running all the time, many of which I'm sure are college productions. I know I've been in at least one myself lol. Is it possible that a particular stage performance could surpass your experience of the film? Yes but that all depends on your expectations and what you enjoy. For example I can't imagine Chicago being better on stage than it was in the movie but it all depends on the production. I saw Wicked with Idina Menzel and Christine Chenoweth and it was stellar. I can't imagine a film of Wicked coming out that could surpass the impact of seeing it on the stage with those two. Yes cinema can be really effective in some ways but it can't compete with two superstars flawlessly giving it to you in real time right on front of you. That's a different experience. But it's possible that I could see a stage version that just blows me away more than the movie. I tend not to compare film and stage versions of things because to me there's no need to. They can both be great or bad depending on the production and the talent involved.
Nope, the movie is better than any staged version could ever be because of the medium. (as far as staged version goes, the one on Broadway is cheap and awful, a low-budget version of Chicago lol. I've seen community productions that were better).
The best part of this scene is the 5 or more levels or meaning enhance the artistry instead of sounding preachy. But it is all there. 1 they are using the press as puppets to win the trial. 2. Roxy does not have a voice and when she speaks she is put in her place by the man. 3. Richard Gere uses Roxy as long as she doesnt overshadow him. 4. The press is a circus that will print anything without due investigation to sell papers. 5. Roxy has a serious mental problem when she retreats into musicals to avoid draling with reality. 6. Women should only be pure virgin nuns or whores. No grey area allowed.
All the strings on the ‘puppets’ are post-production effects - doing the look practically was too cumbersome bc of all the dancing… a great example of subtle CGI that isn’t dinosaurs or intergalactic travel
I remember me as a child loving this song with no context. I had never seen Chicago, and I didn't know why there was a random guy introducing the song. There were many lines in this song I couldn't understand at the time, but my dad and I would sing it in the car. I remember explicitly asking him one time "Play for fun? Why else would anyone play?" I don't remember if my dad answered me or just continued singing, but I wouldn't know how to answer that if my kid asked.
Every performance in this movie is unique and memorable in itself.. but yes I remember this moment when first seeing it in the theater as the moment I knew this movie was going to be perfection.
This scene pleases my senses in so many ways. Everything about it is absolutely superb. I watch it and laugh at the Gere naysayers from back when the film was released. His and Renee’s acting is absolutely pitch perfect.
This was the only movie I saw in the theater three times. It came out about five months after I moved to Chicago as a 20-something and it was right in my wheelhouse. I still watch it at least once a year.
