ChicagoChicago

Chicago Chicago (2002)(2002)

Director: Rob MarshallDirector: Rob Marshall Written by Bill Condon (screenplay) and Bob Fosse (book)Written by Bill Condon (screenplay) and Bob Fosse (book) Won 6 Academy Awards (2003):Won 6 Academy Awards (2003):

Best PictureBest Picture Best Actress in Supporting Role (Zeta-Jones)Best Actress in Supporting Role (Zeta-Jones) Best Art Direction-Set DecorationBest Art Direction-Set Decoration Best Costume DesignBest Costume Design Best EditingBest Editing Best SoundBest Sound Also nominated for Best Actor in a Supporting Role (Reilly), Also nominated for Best Actor in a Supporting Role (Reilly),

Best Actress in a Leading Role (Zellweger), Best Actress in a Best Actress in a Leading Role (Zellweger), Best Actress in a Supporting Role (Queen Latifah), Best Cinematography, Best Supporting Role (Queen Latifah), Best Cinematography, Best Director, Best Original Song, Best Adapted ScreenplayDirector, Best Original Song, Best Adapted Screenplay

CastCast

Velma Kelly (Catherine Zeta-Jones)Velma Kelly (Catherine Zeta-Jones) Roxie Hart (Renee Zellweger)Roxie Hart (Renee Zellweger) Billy Flynn (Richard Gere)Billy Flynn (Richard Gere) Amos Hart (John C. Reilly)Amos Hart (John C. Reilly) Matron ‘Mama’ Morton (Queen Latifah)Matron ‘Mama’ Morton (Queen Latifah) Mary Sunshine (Christine Baranski)Mary Sunshine (Christine Baranski) Bandleader (Taye Diggs)Bandleader (Taye Diggs) Kitty Baxter (Lucy Liu)Kitty Baxter (Lucy Liu)

Robert Louis “Bob” FosseRobert Louis “Bob” Fosse

1927-19871927-1987 American American musical theater choreographer and and

director, and a film directordirector, and a film director widely considered to be among the most innovative widely considered to be among the most innovative

and influential choreographers of the 20th Centuryand influential choreographers of the 20th Century 8 Tony Awards for choreography; nominated for 4 8 Tony Awards for choreography; nominated for 4

Academy Awards, won Best Director for Academy Awards, won Best Director for CabaretCabaret moved to Hollywood with the ambition of being the moved to Hollywood with the ambition of being the

next Fred Astaire but had more success in next Fred Astaire but had more success in choreography than obtaining roles due to premature choreography than obtaining roles due to premature balding, which limited the roles he could takebalding, which limited the roles he could take

What to notice:What to notice:

Symbolic use of color, lighting, and objectsSymbolic use of color, lighting, and objects Fosse trademarksFosse trademarks Use of camera as observerUse of camera as observer Bandleader’s role as essentialBandleader’s role as essential Themes (expressed visually and through music)Themes (expressed visually and through music)

RivalryRivalry Role of mediaRole of media AmbitionAmbition Justice/LawlessnessJustice/Lawlessness Power and victimizationPower and victimization

Transitions and cross-cuttingTransitions and cross-cutting Mirror actionsMirror actions Visual effectsVisual effects SoundsSounds

Fosse’s StyleFosse’s Style

Fosse developed a jazz dance style that was Fosse developed a jazz dance style that was immediately recognizable, exuding a stylized, immediately recognizable, exuding a stylized, cynical sexuality. Other notable distinctions of his cynical sexuality. Other notable distinctions of his style included the use of turned-in knees, style included the use of turned-in knees, sideways shuffling, and rolled shoulders.sideways shuffling, and rolled shoulders.[2][2]

With Fred Astaire as an influence, he used props With Fred Astaire as an influence, he used props such as bowler hats, canes and chairs. His such as bowler hats, canes and chairs. His trademark use of hats was influenced by his own trademark use of hats was influenced by his own self-consciousness. self-consciousness.