A married woman has an affair with another man.
A man accompanies a woman home and they engage in intercourse. Very little is actually shown, most is implied.
Burlesque style sexual choreography in songs.
Most of the songs have burlesque (raunchy) lyrics, but these are non-explicit.
Costumes true to the genre are risqué.
A woman is seen in the background changing with no shirt on. Her bare back is shown but no nudity. It is implied that she bribed a man through this.


Film review:Translated by www.rabudo-ru.com


I just saw Chicago a few days ago. Well, I admit I’m old fashion, but there are some things I’d rather meet by chance, so when I turn to Chicago on my colleague’s computer, I won’t miss it again.

Extending the black hand to Broadway’s classic stage drama and moving it to the camp after change is the latest trick of Hollywood’s smart investors and directors? Although there is little success, the skinny camel is bigger than the horse. How to recruit can win a little pity from film critics. However, Chicago, a song and dance blockbuster that has won six Oscars, has earned 171 million box offices in the United States and 306 million worldwide at a cost of $45 million. It is indeed a bumper harvest of business and art, but I would rather call it a social reality satire than a song and dance drama. It is not a traditional song and dance drama that praises truth, goodness and beauty or the supremacy of love. Even in terms of the performance and focus of song and dance, Chicago is not outstanding; In the sense of exposing social reality and ridicule, it is better than ordinary song and dance blockbusters. I believe the judges of the American Film Union take this into account?

The “great entertainer spirit” put forward by Chicago runs through the whole play. Along with this concept, the plot is used and the characters are enriched. Similarly, from this concept, the images of the three protagonists are disassembled to pieces in the end. What is Chicago’s “great entertainment spirit”? It is manifested in the sanctimonious, blind and black-and-white of Chicago barrister Billy Flynn played by Richard Gere, in the blood blade relatives of dancer Velma Kelly played by Catherine Zeta Jones, and in the vanity of Roxie played by Renee Zellweger. The director rob Marshall gives a seemingly perfect and even absurd ending to the three protagonists. Is it out of business needs, or does it imply a mockery of reality? I believe everyone has his own opinion. This article will not argue too much.

Leaving aside the fact that the body has not fully recovered after childbirth, I’m shocked by Catherine Zeta Jones’s singing and dancing skills! Even when I arrived at Pianwei, I always thought it was female No. 1: every dance action was quite in place, the coquettish in a frown and smile, the amorous feelings when smoking and taking photos, and of course, there was a thick and magnetic voice. Some scenes that I remember most: when Zellweger was regarded as the number one client of Gere barrister, Zeta Jones was dejected in his eyes; When trying to please Zellweger, convince her to combine with her partner like a clown (Zeta Jones doesn’t need it, it just needs to use Zellweger to revive her old statement); Finally, when he got out of prison, he sincerely invited Zellweger to combine with her again, and slightly embarrassed to cover up his current broken dilemma. The three scenes, three attitudes and three expressions all show the confidence and arrogance of the role. It can be seen that Zeta Jones has long figured out the role of the dancer.

Renee Zellweger’s role didn’t break through as much as she did in cold mountain a few years later, but her performance was still commendable, although Catherine Zeta Jones didn’t make her much worse. Zellweger’s married woman should have been content with family affairs, but she was completely lost in the shining spotlight. She took the initiative to devote herself to becoming a singer, but she was deceived. Suddenly, she realized that she was angry and fired. In prison, she was scared and haggard from the beginning. After the “hype” and “packaging” of the lawyer played by Richard Gere, she suddenly became popular. She changed from a murderer to a victim. When she was about to be abandoned by the media and completely out of favor, she “grew wisdom in haste” and “fainted during pregnancy”, which once again detonated the craze of media pursuit. This is all kinds of “hype” and “exposure” entertainment events in the bizarre entertainment circle. But at the moment when he was finally acquitted, Zellweger fell from the floating heaven back to the real hell. Letters and flowers from fans! She seems to have begun to recall her good time in prison, which is another wonderful irony. Zellweger’s performance, sometimes sexy and sometimes pitiful, portrays the characters as flesh and blood, making people love and hate; Her explosive voice and slightly hoarse voice in the high range make people feel that she wasted her good voice without a jazz album.

Two women, one man and one play, but the hero was a real failure. He can be John Travolta or Antonio Banderas. Of course, Ewan McGregor can also be considered… But Richard ger? Why Richard Gere? From his appearance, he was out of tune with the whole song and dance drama. No one questions Richard Gere’s image or acting skills. You know, this hypocritical and dignified role is tailor-made for him. When it comes to singing and dancing… You know how poor his voice and body coordination are. However, the climax of Chicago is the puppet show of Richard Gere and Renee Zellweger. Their funny and exaggerated facial expressions are especially worth pondering.

There are also two supporting roles and two dance drama plays to be mentioned, one is queen Latifah who plays the prisoner chief Mrs. Morton, and Mya, female prisoner No. 6 in the extremely classic cell block tango. As the eldest sister of hip-hop / rap, Queen Latifah has many years of acting experience in film and drama stage, and it is naturally right for prisoners to find her for a role with a certain “weight”. In the part when you’re good to Mama where queen played, the fast and thick bass drum also highlighted her “heavyweight”. Of course, such a coquettish song is vulgar and quite straightforward – when you’re good to mama, mama’s good to you

The cell block Tango performed by the six women prisoners has good creativity, editing, song and dance arrangement and better dancer strength. Except for the supporting actress Zeta Jones, all of them have professional backgrounds. Personally, I like Susan Misner, black female prisoner Deidre Goodwin and Russian dancer Ekaterina chchelkanova who are the first to appear. Of course, there’s the huge side dish: female prisoner No. 6, American R & B singer Mya, but to be honest, this role didn’t give her any chance to perform at all.

It seems that many people, film critics and professional film critics compare Chicago with Moulin Rouge, and even say that Chicago was hastily developed because of Moulin Rouge’s sudden popularity. This is sheer nonsense. In fact, as early as 1996, Chicago began the selection of heroines, and Madonna, the most promising at that time, chose the latter between Chicago and Evita. The details are recorded in any Madonna biography. With the passage of time, the script needs to be deleted, there are no suitable actors, and investors and film companies gradually lose confidence. Finally, the shooting plan has to be stranded and the start-up is far away. It was not until the great success of Moulin Rouge gave Miramax the confidence to salvage a sum of money again that he reorganized his team and put it into shooting, and finally brought you this “big entertainment drama” Chicago.

As a song and dance drama, compared with Chicago’s serious theme of criticizing the current disadvantages, the theme of Moulin Rouge is regular: romantic love tragedy; The same song and dance plot has different tasks in the two plays: in Chicago, the song and dance plot is the power, structure and description of the plot, while in Moulin Rouge, the song and dance plot is subordinate to the plot and cannot be taken away. Take an inappropriate example: if Chicago is a dream of Red Mansions, Moulin Rouge is Romeo and Juliet. Chinese and foreign classics benefit from each other and have their own strengths.

If you’ve seen Chicago, you might as well review it now.

If you haven’t seen it yet, you might as well look for it. Such a movie is too difficult to meet by chance.

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