Chicago A film version of 'Chicago' has been almost inevitable since the show - which was originally directed by Bob Fosse in 1975 - was revived recently on Broadway and in the West End, and it's easy to see why. 'Chicago' is packed with great tunes, from the opening 'All That Jazz', to 'All I Care About Is Love', to John C. Reilly's melancholic 'Mr. Cellophane', but is that enough to ensure a movie's success? The story, originally written in 1926 by journalist Maurice Watkins, focuses on the would-be starlet Roxie Hart (Renee Zellweger), who is sent to prison after killing her lover. The future looks pretty miserable for her until she employs the services of a charismatic, corrupt lawyer, Billy Flynn (Richard Gere), whose reputation for winning cases for female clients is infamous. Therefore, it is hardly surprising that within days he is able to turn Roxie into a media sensation, with her photo on the front cover of every newspaper and a defence case almost certain to win her her freedom. However, fellow murderess Velma Kelly (Catherine Zeta Jones), who is also a client of Flynn's and has been elevated to similar stardom, is none too pleased when Roxie begins stealing headlines from her. As a result, her own case is hardly attracting attention - so she will do anything to steal the limelight once again. Overall, Marshall's 'Chicago' seems destined to succeed, though there are problems, of course: it's far too theatrical, and for a film where the female cast spend 90 per cent of the time in their underwear, it's strangely unsexy. Yet it's first-timer Rob Marshall who threatens to disrupt proceedings with his TV background manifesting itself in his obsession with oppressive close- ups and uninventive camerawork. Nonetheless, equipped with that cast, those songs, as well as a budget large enough to recall glorious Technicolor MGM memories, even Marshall couldn't fail to make this one fly. Chris Healey Issue 163 February 2003 Cinema review page.