Product Details

• Actors: Renée Zellweger, Catherine Zeta-Jones, Richard Gere, Taye Diggs, Cliff Saunders
• Directors: Rob Marshall
• Writers: Bill Condon, Bob Fosse, Fred Ebb, Maurine Dallas Watkins
• Producers: Bob Weinstein, Craig Zadan, Don Carmody
• Format: NTSC
• Language: English, Hungarian
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Rating: PG-13 (Parental Guidance Suggested)
• Run Time: 113 minutes
• Average Customer Review: 4.2 out of 5 stars See all reviews (943 customer reviews)
• ASIN: B00009WNVV
• Amazon.com Sales Rank: #34,930 in Movies & TV (See Bestsellers in Movies & TV)

Editorial Reviews

Amazon.com
Bob Fosse's sexy cynicism still shines in Chicago, a faithful movie adaptation of the choreographer-director's 1975 Broadway musical. Of course the story, all about merry murderesses and tabloid fame, is set in the Roaring '20s, but Chicago reeks of '70s disenchantment--this isn't just Fosse's material, it's his attitude, too. That's probably why the movie's breathless observations on fleeting fame and fickle public taste already seem dated. However, Renée Zellweger and Catherine Zeta-Jones are beautifully matched as Jazz Age vixens, and Richard Gere gleefully sheds his customary cool to belt out a showstopper. (Yes, they all do their own singing and dancing.) Whatever qualms musical purists may have about director Rob Marshall's cut-cut-cut style, the film's sheer exuberance is intoxicating. Given the scarcity of big-screen musicals in the last 25 years, that's a cause for singing, dancing, cheering. And all that jazz. --Robert Horton

From The New Yorker
The time is the nineteen-twenties, but the setting is so stylized, so shamelessly grounded in a hundred other shows and films, that "Chicago" barely qualifies as a period piece; indeed, it merrily jabs at the celebrity-lust of our own era. Catherine Zeta-Jones is Velma Kelly, and Renée Zellweger is Roxie Hart. Each is a man-killer, and each resides in jail, plotting her defense with the silken legal help of Billy Flynn (Richard Gere). The music and lyrics by Kander and Ebb operate on the old-fashioned principle that every song should be a showstopper, regardless of whether the show should be stopped. The director, Rob Marshall, cuts away furiously during every song, and this chronic wish to glance aside makes us wonder: could the performers not weather the camera's unstinting gaze? The only player to conquer the movie is Zeta-Jones, who gets by on a full tank of unleaded oomph. The film has punch, but it never really conveys the delicious, redeeming sense that life can be lived on the hoof. -Anthony Lane
Copyright © 2006 The New Yorker

Customer Reviews

Most Helpful Customer Reviews

25 of 27 people found the following review helpful:

5.0 out of 5 stars One of the best movies EVER!, July 10, 2003

By	Allison Lane (Paramus, NJ United States) - See all my reviews

This review is from: Chicago (Widescreen Edition) (DVD)

As a musical theater purist, I was concerned that a movie musical with 3 of Hollywoods A list stars would be a hinderance rather than a help in the "revival" of the genre. I must say that I was blown away by the sheer genius and excellence of the film.
Catherine Zeta-Jones' Velma was equal to, if not better than Bebe Neuwerth's ( Brodway revival). Her beautiful voice and masterful dance skill is worthy of the great white way. A Tony may have been a more appropriate award as opposed to her much deserved Oscar. Although Rene Zellwegers voice was a little shaky in the begining she brought out a tough side in Roxy that was not there in neither the original nor the revival stage versions. Then my biggest fear, Richard Gere as Billy Flinn, was in a word perfect. You can't ask for a better fit, and what a shocker to see that wonderful tapdance!
With great costumes,Fosse-like choreography, expert lighting and singing (by many broadway veterans in the chours as extras) this dark comedy shines. Also with great cameos and supporting performances by the great Chita Rivera ( original broadway cast),John C. Reily (oscar nominated),Lucy Liu, and Christine Baranski this film shines as one of the greatest ever made, not just as a musical, but as a film. Rob Marshall's directorial debut deserves all of it's accolades...and all that jazz.

29 of 32 people found the following review helpful:

4.0 out of 5 stars Missing the Point, July 23, 2003

By A Customer

This review is from: Chicago (Widescreen Edition) (DVD)

Those who have condemned Chicago for its characters and subject matter are missing the point. When he wrote this musical Fosse was satirizing a society in which the appetite for sensationalism has led to the glamorization of criminals and the corruption of our government and justice system. The twenties were notorious for this. However, Fosse couched it in such an appealing manner so that it was only upon reflection that people realized who and what they had been rooting for, thus proving his point. If something is entertaining and sensational enough people will pay to see it regardless of its moral values.

Chicago is a fabulous production and does justice to Fosse's original vision. While some people have condemned the singing in the film it is consistent with recordings from that period and, for me at any rate, instantly evoked the time period. I think Chicago is a great production and worth seeing at least once.

45 of 52 people found the following review helpful:

5.0 out of 5 stars Divas to Die For, December 9, 2002

By	Eric Anderson (London, United Kingdom) - See all my reviews (REAL NAME)

It is the 1920s in Chicago and we enter this musical film through a saucy nightclub to see Velma Kelly (Catherine Zeta-Jones) performing a duo act of All that Jazz on her own. Only later is it revealed what happened to her sister who was supposed to be the second half of the act. Next we meet Roxie Hart (Renée Zellweger) who is a naive girl with big dreams of stardom who goes to the slammer for killing her lover. From the moment she enters and we see a brief flash of her imagining herself on stage, we are aware that this film is half reality and half Roxie's dream. Ambitious Roxie has to find a way to get herself out of prison and onto the stage. To do this she creates an innocent persona that is designed by her smooth talking lawyer Billy Flynn (Richard Gere) for the media to bring the public to her support. With his help and the sassy matron of the women's prison 'Mama' Morton (Queen Larifah) Roxie eclipses Velma Kelly's prison girl fame. Her matronly values and repentant attitude have the public enthralled and the jury in tears. But with her newfound celebrity Roxie's head is sent spinning again with plans of musical fame. However, it becomes increasingly obvious that her popularity will be dreadfully short lived if she doesn`t craft a way to remain in the spotlight. Teetering on the brink of superstar celebrity and death row, Roxie will have to give the performance of her life if she wants to save her neck. Filled with beautifully choreographed catchy musical numbers and a pleasing sweep of fast dramatic action, there is never a dull moment in this film. It's a triumphantly enjoyable thing to watch.

The greatest reason for this film's success is due to the stunning ensemble of actors many of whom (with the exception of Queen Larifah) we aren't familiar with hearing sing. The cast all excel in both in their musical numbers and acting performances. Catherine Zeta-Jones looks stunning and is fun in her catty diva role. Renée Zellweger is perfect for her part of the innocent, but still determined and quietly vicious, Roxie who will stop at nothing to become a star. Like in the striking film Nurse Betty, Zellweger's character again confuses reality with her dreams and her subtle facial shifts and movement meaningfully represent her psychological conflict. Most surprisingly, Richard Gere delivers a fantastic performance as the slimy lawyer proving that this actor can really do comedy well. Then there are notable performances in minor roles that leave an impact such as Queen Latifah`s sultry money-hungry matron, Christine Baranski as the hilarious news reporter Mary Sunshine, John C Reilly as Roxie's neglected but still loving husband Amos Hart and Lucy Liu as the vicious ball-busting heiress Kitty.

Those familiar with the famous stage show of Chicago will not be disappointed because this film maintains its focus on the musical and dance numbers as the centerpiece. In fact, the meaning of Roxie's psychological confusion between reality and fantasy is wonderfully accentuated by the film's ability to quickly cut between the drab, harsh reality and the glamorous, jazzy corners of Roxie's imagination. The director Rob Marshall excellently filmed all the dance numbers to focus on particular moves as well as capture the full action of the performances for the fullest effect. This movie is a fine example of how a musical film can succeed where its pertinent counterpart (as both films focus on a female on death row) Dancer in the Dark failed. The musical numbers all take a vital role in both accentuating plot detail and enjoyably moving the film along. Likewise, the story does not take itself too seriously preferring to revel in the fantastic music and thrilling story rather than focus on any specific moral meaning. That isn't to say that this film isn't emotionally engaging. It excels in its ability to entertain you as well as draw you into an exciting story of fame, glamour and death.