Rendező:
Rob MarshallOperatőr:
Dion BeebeZeneszerző:
John KanderSzereplők:
Catherine Zeta-Jones, Renée Zellweger, Richard Gere, John C. Reilly, Queen Latifah, Jayne Eastwood, Christine Baranski, Taye Diggs, Colm Feore, Lucy Liu (több)Streaming (1)
Tartalmak(1)
Chicago, 1929. Gyilkosság. Szenvedély. Hírnév. Szex. És jazz, mindhalálig. A Szeles Város megannyi kalanddal és lehetőséggel kecsegtet. Ez a csábítás elkápráztatja Roxie Hartot, a látszólag ártatlan színésznőt, aki arról álmodozik, hogy az ének és a tánc kimenti őt élete egyhangúságából. Roxie egyetlen vágya, hogy Velma Kelly varietéművésznő dicső nyomdokaiba léphessen. Vágya kicsit másképp teljesül, amikor néhány nagyon elhibázott lépés folytán a sztár és a sztárjelölt is börtönbe kerül gyilkosság vádjával. A Matron Morton börtön felügyelete alatt Roxie találkozik Billy Flynn-nel, a legendás ügyvéddel, aki elvállalja Roxie ügyét, egy nem szerény összegért. Roxie berobban a csúcsra, mentorának nagy bosszúságára. Ám az agyafúrt Miss Kelly is tartogat néhány meglepetést a második felvonásra. (UIP-Duna Film)
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Recenziók (8)
Elegáns musical szórakoztatás, amely stílusos, lendületes és energiával teli. De még mindig csak felszínes és rideg szórakozás, amely közel sem fog annyira lenyűgözni, mint az érzelmesebb és jobban a történetre koncentráló mestermű, a Moulin Rouge című film.
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Chicago one of those films that you might not necessarily dislike, let alone throw away, but doesn’t offer practically anything new or innovative, and you will probably to avoid a feeling of boredom during the screening. The captivatingly shot dance scenes in the cabarets do not make up for the rather dismal screenplay and main plot. The performances are excellent, and above all, the actors are the engine of the whole film, without whom it would suffer from the boredom syndrome even a little more than it should be healthy.
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The perfect kind of musical? Never getting bored, even for a minute! And that's where Rob Marshall comes in. Under his leadership, the heavy story transforms into an elegant and sophisticated spectacle with an excellent leading trio of actors (especially Catherine Zeta-Jones, captivating in her sexy demonic posing and seductive voice), though at certain moments they should cut the singing, since a song revolving around a noose, for example, is clearly unnecessary. To a certain extent, however, I understand the flood of Oscars; even years later, this is an incredible feast for the eyes.
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I expected almost nothing from Chicago and maybe that’s why I had so much fun. My heart still belongs to the other great musical from the early 21st century (the time they were made, BTW, is the only thing Chicago and Moulin Rouge have in common), but it still deserves a thumbs up; it’s certainly not the undeserved Oscar winner many people say.
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Nonsensical acting and screenwriting Oscar nominations shake hands with technical brilliance in 100 minutes of entertainment that flies by. The music is perfect, led by the catchy hit "All That Jazz" (I love jazz), and the choreography of the dance numbers is remarkable, the most striking of which were the journalist "puppets" on strings with a great performance by the pleasantly surprising Gere and Zellweger. The latter, like Zeta-Jones, sings very well, dances brilliantly, but unfortunately also shows off her limited acting range with position #1: "dumb Bridget". As a result, I felt like I was sitting in some fancy Chicago club, watching one jazz-dance act after another in a show about two murderesses and one greedy defense attorney, ignoring the fact that all that bombastic glitz is hiding a flimsy script and an unexciting plot. The main thing was that the eyes and ears were happy. And they were pouring great champagne too...
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