Chicago

Chicago (2002)

Director: Rob Marshall

Written by Bill Condon (screenplay) and Bob Fosse (book)

Won 6 Academy Awards (2003):

Best Picture

Best Actress in Supporting Role (Zeta-Jones)

Best Art Direction-Set Decoration

Best Costume Design

Best Editing

Best Sound

Also nominated for Best Actor in a Supporting Role (Reilly), Best Actress in a Leading Role (Zellweger), Best Actress in a Supporting Role (Queen Latifah), Best Cinematography, Best Director, Best Original Song, Best Adapted Screenplay

Cast

Velma Kelly (Catherine Zeta-Jones)

Roxie Hart (Renee Zellweger)

Billy Flynn (Richard Gere)

Amos Hart (John C. Reilly)

Matron ‘Mama’ Morton (Queen Latifah)

Mary Sunshine (Christine Baranski)

Bandleader (Taye Diggs)

Kitty Baxter (Lucy Liu)

Robert Louis “Bob” Fosse

1927-1987

American musical theater choreographer and director, and a film director

widely considered to be among the most innovative and influential choreographers of the 20th Century

8 Tony Awards for choreography; nominated for 4 Academy Awards, won Best Director for Cabaret

moved to Hollywood with the ambition of being the next Fred Astaire but had more success in choreography than obtaining roles due to premature balding, which limited the roles he could take

What to notice:

Symbolic use of color, lighting, and objects

Fosse trademarks

Use of camera as observer

Bandleader’s role as essential

Themes (expressed visually and through music) Rivalry

Role of media

Ambition

Justice/Lawlessness

Power and victimization

Transitions and cross-cutting

Mirror actions

Visual effects

Sounds

Fosse’s Style

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

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

Compare and contrast the following dance numbers. How does the

choreography/movement differ? Why does it differ? What effect(s) are created?

“All That Jazz” (Velma)

“Funny Honey” (Roxie & Amos)

“Cell Block Tango” (six murderesses)

Discuss who has power (and over whom) and what shifts have occurred at this point in the film.

Consider the following:

Roxie

Amos

Velma

Billy Flynn

Mama Morton

The Media (Mary Sunshine and others)

In your last response, you discussed who had power and power shifts in the film. While the

power struggles continue, look now at the victims. Which characters are victims –

either of someone else or of themselves and their own actions?

Add this to your final response sheet list of

questions:

3. How is choreography and music used in the film to accent the storyline? Use specific examples to support your answer.