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Chicago (2003)

PG-13 | 113 mins | Musical comedy | 7 February 2003

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
You may also like these titles from the AFI Catalog of Feature Films, the most authoritative documentation of the First 100 Years of American filmmaking.

Director:

Rob Marshall

Writer:

Bill Condon

Producer:

Martin Richards

Cinematographer:

Dion Beebe

Editor:

Martin Walsh

Production Designer:

John Myhre

Production Company:

Producer Circle Co.
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HISTORY

The film has no opening credits. After the Miramax Films name and logo appears, the next screen is an extreme closeup of Renée Zellweger’s eye, which dissolves into the letter C in a marquee lighting rendition of Chicago . The action begins as Taye Diggs, who portrays the "Bandleader," recites the dancer’s count “5-6-7-8,” a trademark phrase of Bob Fosse, director and choreographer of the successful 1975 Broadway musical play on which the film is based. The dialogue ends as it started, with Diggs repeating “5-6-7-8.” The exit music then begins as the title re-appears.
       Following the director, screenwriter and producers’ credits, the names of the principal cast appear, on individual screens, in the following order: Renée Zellweger, Catherine Zeta-Jones, and Richard Gere, Queen Latifah, John C. Reilly, Lucy Liu, Taye Diggs, Colm Feore, Christine Baranski, Dominic West, Mýa Harrison, Deidre Goodwin, Denise Faye, Ekaterina Chtchelkanova [and] Susan Misner. As the actors’ names appear, clips of their scenes from the film are shown. Following a number of additional principal production credits, the cast and character names are presented, listed in order of appearance. The remaining credits roll after the cast.
       After the song and soundtrack credits, the following statements appear: “Richard Gere’s singing and dancing performed by Richard Gere; Renée Zellweger’s singing and dancing performed by Renée Zellweger; Catherine Zeta-Jones’ singing and dancing performed by Catherine Zeta-Jones.” Danny Elfman is credited onscreen twice, first with “Original score and music by,” then again with “Original score and music written and produced by.” There is an onscreen dedication in the end credits that reads “Dedicated to Bob Fosse, Gwen Verdon ...

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日本一本道a不卡免费

The film has no opening credits. After the Miramax Films name and logo appears, the next screen is an extreme closeup of Renée Zellweger’s eye, which dissolves into the letter C in a marquee lighting rendition of Chicago . The action begins as Taye Diggs, who portrays the "Bandleader," recites the dancer’s count “5-6-7-8,” a trademark phrase of Bob Fosse, director and choreographer of the successful 1975 Broadway musical play on which the film is based. The dialogue ends as it started, with Diggs repeating “5-6-7-8.” The exit music then begins as the title re-appears.
       Following the director, screenwriter and producers’ credits, the names of the principal cast appear, on individual screens, in the following order: Renée Zellweger, Catherine Zeta-Jones, and Richard Gere, Queen Latifah, John C. Reilly, Lucy Liu, Taye Diggs, Colm Feore, Christine Baranski, Dominic West, Mýa Harrison, Deidre Goodwin, Denise Faye, Ekaterina Chtchelkanova [and] Susan Misner. As the actors’ names appear, clips of their scenes from the film are shown. Following a number of additional principal production credits, the cast and character names are presented, listed in order of appearance. The remaining credits roll after the cast.
       After the song and soundtrack credits, the following statements appear: “Richard Gere’s singing and dancing performed by Richard Gere; Renée Zellweger’s singing and dancing performed by Renée Zellweger; Catherine Zeta-Jones’ singing and dancing performed by Catherine Zeta-Jones.” Danny Elfman is credited onscreen twice, first with “Original score and music by,” then again with “Original score and music written and produced by.” There is an onscreen dedication in the end credits that reads “Dedicated to Bob Fosse, Gwen Verdon and Robert Fryer.” Fosse died in 1987; Verdon, who starred as "Roxie Hart" in her long-time collaborator and ex-husband Fosse’s musical, died in 2000 and Fryer, who produced the show on stage, died in 1987. Special thanks are also given to a number of individuals and institutions, including the City of Toronto, where the film was shot. Acknowledgment is also given to F.I.L.M. Archives and Getty Images for stock footage that was used in the black and white montage of Roxie's publicity campaign.
       After Chicago 's Los Angeles premiere on 10 Dec 2002, its first public showing took place on 19 Dec at the Camelot Theater in Palm Springs, CA, as an early “kickoff” event for the Jan 2003 Palm Springs Film Festival. The film opened in limited release in the UK on 26 Dec 2002, and opened on fifty-five screens in New York, Los Angeles and selected North American cities on 27 Dec 2002, in order to qualify for Academy Award consideration. The number of screens on which the film was shown increased to seventy-seven on 3 Jan 2003, with additional screens added on successive Fridays until the picture was released widely throughout North America on 7 Feb 2003.
       Development of the film version of Chicago , which co-starred Chita Rivera (who had a brief role in the film as prison inmate “Nickie”) as “Velma Kelly” and Jerry Orbach as “Billy Flynn,” began shortly after the opening of the critically and commercially successful Broadway show on 3 Jun 1975. The following information about the production was obtained from press information, news items in Hollywood trade publications and feature articles in various newspapers and magazines:
       The earliest news item found on a possible film adaptation of the musical was 18 Sep 1975, when Liza Minnelli, who had recently filled in for Verdon in the Broadway production, and had earlier won an Oscar for her performance in the 1972, Fosse-directed adaptation of Cabaret , mentioned in an interview that she would appear in the screen adaptation of Chicago . Other news items in the late 1970s indicated that Shirley MacLaine, who starred in Fosse’s first film as a director, the 1969 adaptation of the Broadway musical Sweet Charity , might co-star with Minnelli, and that Martin Scorsese, who had directed Minnelli in the film musical New York, New York in 1977, would direct. Verdon was mentioned in some news items at that time as the possible choreographer of the film.
       In 1979, it was announced that Martin Richards, head of Producer Circle Co. was to produce the film, partnered with Allan Carr, who had produced the musical box office hit Grease in 1978. At that time, Broadway and Hollywood writers-composers Betty Comden and Adolph Green were mentioned as possible screenwriters for the film, which would have eight new songs, and was to begin production in Jan 1980. Throughout 1979, additional news items mentioned that Fryer would co-produce the film version of Chicago on a $10,000,000 budget, along with Richards and his partner, Mary Lea Johnson, and Carr. In 1979, according to George Christy’s “The Great Life” column in HR , Frank Sinatra was named as a possible choice to play Flynn. Several news items in 1979 noted that Minnelli was set to play Velma, co-starring with Goldie Hawn as Roxie. Other actors mentioned in 1979 as potential cast members included Valerie Perrine, Ann Miller and Nancy Walker, in unspecified roles.
       In Jan 1981, a HR news item reported that Carr had hoped to shoot the film in Chicago, with interiors to be completed in Los Angeles and prison scenes to be shot in Alcatraz Federal Penitentiary. According to news articles in 1980 and 1981, at one time, Hawn wanted to produce, or co-produce, the film. A 7 May 1980 HR news item mentioned that Ralph Burns, who had recently won an Oscar for scoring All That Jazz , was to score Chicago . Other news items in 1982 indicate that Arthur Laurents was to write the script, and that William Friedkin was to direct. Broadway director Nicholas Hytner was mentioned as the director in May 1988. A 1 Jun 1988 DV article also noted that Kathy Bates was being sought for the role of “Matron Mama Morton."
       Although some news items throughout the 1970s indicated that Fosse had decided not to direct the film adaptation of Chicago , some suggested that he was still considering the project but felt that he did not have the right “hook” for the production. Later feature articles speculated that Fosse gave up in frustration over the lengthy development stage of the project and instead turned his attention to directing the semi-autobiographical All That Jazz . That film, with a title derived from Chicago ’s most famous song, incorporates backstage scenes of the protagonist, a Fosse-like character, directing and choreographing a Broadway musical suggestive of Chicago .
       Although Carr, who died in 1999, was no longer mentioned as affiliated with the production after the mid-1980s, it is unclear at which point he left the project. Miramax head Harvey Weinstein became actively involved as a co-producer with Richards in late 1994, according to contemporary news items. Directors variously reported as being sought for the project throughout the 1990s include Baz Luhrmann, Miloš Forman, Alan Parker, David Fincher, Robert Iscove and Sam Mendes. Rob Marshall was signed as the film’s director in early 2001. Marshall, who made his feature film debut with Chicago , had previously worked on the stage and had directed the television adaptation of the musical Annie in 1999.
       In the mid-1990s, writer Larry Gelbart was hired to write a screenplay for the film, although playwright Wendy Wasserstein was also mentioned in Hollywood trade papers as writing a draft of the script. Several news items and columns, such as Liz Smith’s syndicated columns, suggested that Gelbart’s screenplay was not considered “hot” enough by Hytner, who was again connected to the project. Although Gelbart disputed the accusations, the adaptation assignment eventually went to Bill Condon, the only screenwriter credited on the film. Gelbart was listed on numerous HR “in development” and “preproduction” charts and both Gelbart and Wasserstein were listed on the initial DV production chart, but the extent of their contributions to the completed film has not been determined.
       As late as the late-1990s, Hawn, who was still frequently mentioned in connection with the film, was said to be set for the lead. From 1994 through 1999, Madonna was mentioned in many news items and feature articles as being “set” for the project in the role of Velma. A 2 Feb 1999 HR "in development" chart listed the film as starring Madonna and Hawn, with a script by Gelbart, and indicated that it was to be shot in London. Various other actresses were mentioned to be wanted for, or under consideration for, starring roles in the film. According to Liz Smith columns in the late 1990s, Barbra Streisand was offered the role of Velma by Weinstein but turned it down. As stated in news items in the late 1990s, 2000 and 2001, a number of other actresses were under consideration for the leads, among them Bette Midler, Nicole Kidman, Toni Collette, Michelle Pfeiffer, Gwyneth Paltrow, Jennifer Lopez, Cameron Diaz, Britney Spears, Charlize Theron, Pam Grier and Bebe Neuwirth, who starred as Velma in the 1996 Broadway revival of the play. According to a Sep 2002 NYT feature article on the film, Marshall worked with as many as ten actresses before selecting Zellweger for Roxie in Aug 2001.
       Other casting notices in trade publications included Rosie O’Donnell for the role of Mama Morton, and again mentioned Bates as a contender for the role. Names mentioned in news items for the role of Billy included John Travolta, Robert De Niro, Kevin Spacey, Kevin Kline and Hugh Jackman. Names mentioned for the role of Amos Hart included Joel Grey, who also appeared in the 1996 revival, and Nathan Lane. According to a 19 Mar 2003 NYT article, singer Janet Jackson was, at one time, sought to write additional songs for the film.
       Rehearsals began for the film in the fall of 2001. According to a Jan 2003 interview with Marshall printed in the LADN , the director said that rehearsals lasted for approximately six weeks, after which the cast recorded their songs. Principal photography began in Toronto, Canada on 12 Dec 2001 [some sources list 10 Dec]. Although the film continued to appear on HR production charts through late Apr 2002, Marshall stated in the interview that the film had a sixty-day production schedule. A few exteriors for the film were also shot in Chicago. According to a 17 Jan 2003 article in Entertainment Weekly , the film's final production cost was $45 million.
       In interviews, Marshall and Condon stated that they did not want the film to imitate Fosse’s stage production, but wanted to retain its essence while opening it up and modernizing it. The stage production, which was subtitled “A Musical Vaudeville,” was characterized by sparse sets and largely black and white costumes, whereas the film has numerous lavish sets and costumes. Most of the film’s musical numbers are ironic, fantasy representations of what is happening in the story, or in Roxie’s imagination. Many of the juxtapositions of fantasy and reality are cinematic interpretations of Fosse’s stage presentation, which used different levels and sections of the proscenium to present opposing dialogue and situations.
       Most of the film’s numbers are announced by the Bandleader, as if he is introducing a vaudeville act. Shots of an audience, often applauding appreciatively or laughing at what is being presented, are frequently intercut with the musical numbers. The film’s songs are also intercut with short scenes and quick shots of what is being said or developed in the main storyline. For example, as the Cell Block Tango number is presented, each of the women on Murderesses’ Row sings and dances a description of her crime, with the dancing periodically interrupted by a brief scene of the character in jail, verbally describing what happened.
       One of the most unusual numbers juxtaposes shots of Roxie and Billy talking to reporters after her arraignment, with a musical number featuring Billy as a ventriloquist and Roxie as his dummy. As the number develops, Billy is shown as a puppet master, directing the actions of Roxie, "Mary Sunshine" and the other reporters, who are all on strings. The puppet master theme was developed by Marshall for the film.
       Another noteworthy number in the film is “Razzle Dazzle” sung by Gere and staged by Marshall, who also choreographed the film, in a circus-like atmosphere. Several feature articles about the film noted that staging of the “Razzle Dazzle” number and the subsequent trial sequence were inspired by the 1995 O. J. Simpson murder trial, in which Simpson’s primary attorney, Johnnie Cochran, turned potentially damning evidence against the prosecution to win an acquittal for his client.
       Although most of the songs from the Broadway musical were included in the film, a notable exception was the number “Class,” sung by Mama Morton and Velma in the Broadway production. The number was shot for the film, but cut from the release after previews. According to an LAT article on 3 Jan 2003, after judging audience reaction to the number, Marshall felt that the lengthy song interfered with the rhythm of the courtroom sequence. However, several reviews mentioned the song as an unfortunate omission. Other songs from the Broadway production not in the film were: “A Little Bit of Good,” “My Own Best Friend,” “I Know a Girl” and “When Velma Takes the Stand.” Another feature of the stage show that was changed for the film was the character of Mary Sunshine. In the Broadway version, near the end of Roxie’s trial, Mary Sunshine is revealed to be a man in drag. This does not happen in the film, and some sources have speculated that the filmmakers did not feel it was necessary because exposing a “drag queen” was not as shocking to contemporary audiences as it was in 1975.
       The ballad “I Move On” was written especially for the film by John Kander and Fred Ebb. The music for “Tap Dance” was written for the film by Perry Cavari. Two old songs credited onscreen were “Chicago (That Toddlin’ Town)” written by Fred Fisher in 1922 and “Raisin’ the Roof,” written in 1927 with music by Jimmy McHugh and words by Dorothy Fields. “Raisin’ the Roof” was heard on a phonograph in the scene when “Fred Casely” is shot. Although “Chicago” was not in the film, melodic phrases from the song may have been incorporated into the soundtrack.
       The Maurine Dallas Watkins play Chicago , on which the Broadway musical and subsequent film were based, was inspired by two actual murder trials that took place in 1920s Chicago, while Watkins worked as reporter for the Chicago Tribune , giving a “feminine perspective” to crime stories. According to a Jan 2003 Chicago Tribune article reprinted in LAT , the case of Beulah Annan, who shot her lover, Harry Kelstedt, inspired the Roxie Hart story. Annan had a publicity-loving attorney named W. W. O’Brien and claimed that she and her lover both reached for the gun at the same time. She also (falsely) claimed to have been pregnant. Her headline news trial ended in an acquittal. The other inspiration for Watkins’ play was the case of Belva Gaertner, who shot her lover, Walter Law. Gaertner, similar to Velma Kelly in the film, claimed she had consumed too much gin to remember what happened, even though she was found holding the murder weapon and had Law’s blood on her clothes.
       Watkins' play was the basis of a 1928 silent film entitled Chicago , produced by DeMille Pictures, directed by Frank Urson and starring Phyllis Haver as Roxie, Eugene Pallette as “Fred Casely,” May Robson as Mama and Robert Edeson as Flynn. The 1942 Twentieth Century-Fox production of Roxie Hart was also based on the Watkins play. That film was directed by William Wellman and starred Ginger Rogers as Roxie, Adolphe Menjou as Flynn and George Montgomery as “Homer Howard,” a character created for the production. In the 1942 film, told in flashback, Roxie does not kill anyone but admits to murder for the publicity. At the end of the film, it is revealed that Roxie married Homer and became a housewife and mother of his six children.
       Fosse’s original Broadway production of the musical Chicago was revived in 1996, with long-time Fosse collaborator Ann Reinking choreographing the production in Fosse’s style and starring as Roxie, along with Neuwirth as Velma, James Naughton as Flynn and Joel Grey as Amos. The Broadway revival spawned a number of road company and foreign productions, including a 1998 London production staged by Mendes, that have run for several years and, according to several articles, helped to spur renewed interest in a film adaptation. Dancers Deidre Goodwin, Denise Faye and Sebastian LaCause also appeared in the 1996 production.
       In addition to being selected by AFI as one of the top ten films of 2002, Chicago won six Academy Awards: Best Picture, Supporting Actress, Zeta-Jones; Art Direction, John Myhre and Gordon Sim; Film Editor, Martin Walsh; Costume Design, Colleen Atwood; and Sound, Michael Minkler, Dominick Tavella and David Lee. Academy Award nominations also went to Marshall for Direction; Zellweger for Best Actress; Queen Latifah for Best Supporting Actress; Reilly for Best Supporting Actor; Kander and Ebb for Song (“I Move On”), Dion Beebe for Cinematography and Condon for Best Adapted Screenplay. Zeta-Jones won an award for Best Performance by an Actress in a Supporting Role from BAFTA, and the film won a BAFTA for Achievement in Sound.
       The film won three Golden Globe Awards: for Best Motion Picture--Musical or Comedy; Best Actress--Musical or Comedy, Zellweger, and Best Actor--Musical or Comedy, Gere. The film also garnered five additional Golden Globe nominations: for Best Actress--Musical or Comedy, Zeta-Jones; Best Supporting Actress, Queen Latifah; Best Supporting Actor, Reilly; Best Director, Marshall and Best Adapted Screenplay, Condon. Marshall won the DGA award for Outstanding Achievement in Feature Film directing, and the film's producers won the PGA's Darryl F. Zanuck Producer of the Year Award. The film garnered three SAG awards: Best Ensemble Cast, Best Actress (Zellweger) and Best Supporting Actress (Zeta-Jones). Gere received a nomination from SAG for Best Lead Actor in a Movie, and Queen Latifah was nominated for a Best Supporting Actress award. Chicago was also nominated by The Broadcast Film Critics Association for Best Film and was named as one of the Top Ten Films of 2002 by the NYT and named Best Film of the year by the New York Film Critics, who also named Marshall Breakthrough Director of the year. Chicago was ranked 12th on AFI's list of the 25 Greatest Movie Musicals.

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SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Feb 2003.
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Daily Variety
18 Sep 1975.
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Daily Variety
17 May 1979.
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22 May 1981.
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Daily Variety
1 Mar 1982.
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Daily Variety
1 Jan 1988.
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Daily Variety
4 Sep 1992.
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Daily Variety
23 Dec 1994.
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Daily Variety
2 Oct 1998.
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Daily Variety
4 Apr 2001.
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Daily Variety
11 Jul 2001.
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Daily Variety
8 Aug 2001.
---
Daily Variety
25 Oct 2001.
---
Daily Variety
4 Nov 2001.
---
Daily Variety
11 Dec 2002.
---
Daily Variety
14 Dec 2001
p. 26.
Entertainment Weekly
10 Jan 2003
pp. 46-47.
Entertainment Weekly
17 Jan 2003
pp. 20-28.
Hollywood Reporter
1 Feb 1979.
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Hollywood Reporter
6 Feb 1979
p. 1, 21.
Hollywood Reporter
14 Mar 1979.
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Hollywood Reporter
24 Aug 1979.
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Hollywood Reporter
7 Feb 1980.
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Hollywood Reporter
7 May 1980.
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Hollywood Reporter
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Hollywood Reporter
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Hollywood Reporter
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Hollywood Reporter
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Hollywood Reporter
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Hollywood Reporter
2 Jun 1997.
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Hollywood Reporter
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Hollywood Reporter
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Hollywood Reporter
4 Sep 2001.
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Hollywood Reporter
22-28 Jan 2002
p. 38.
Hollywood Reporter
15 Nov 2002.
---
Hollywood Reporter
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In Style
Jan 2003
p. 89.
Los Angeles Daily News
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Los Angeles Daily News
3 Jan 2003
pp. 12-13.
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Los Angeles Times
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Los Angeles Times
27 Dec 2002
Calendar, p. 1.
Los Angeles Times
3 Jan 2003
Calendar.
Los Angeles Times
10 Jan 2003
Calendar, p. 6.
New York
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New York Times
8 Sep 2002.
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27 Dec 2002.
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Script
Nov/Dec 2002
pp. 44-47.
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---
CAST
NAME
CREDITED AS
CREDIT
In order of appearance
Female dancers:
Male dancers:
Female ensemble:
Male ensemble:
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION COMPANY
PRODUCTION TEXT
A Zadan/Meron Production
NAME
CREDITED AS
CREDIT
DIRECTORS
1st asst dir
2d unit dir
1st asst dir, 2d unit
1st asst dir, addl photog 2d unit
2d asst dir
2d asst dir, 2d unit
2d asst dir, rehearsal unit
3rd asst dir
3rd asst dir, 2d unit
Training asst dir
Training asst dir
Training asst dir
Trailer asst dir
Trailer asst dir
D.G.C. trainee, rehearsal unit
D.G.C. trainee, rehearsal unit
D.G.C. trainee, 2d unit
PRODUCERS
Prod
and the MMX-M Unit
Exec prod
Exec prod
Exec prod
Exec prod
Co-exec prod
Co-exec prod
Co-exec prod
Co-exec prod
Co-prod
Producer Circle Co. exec
Producer Circle Co. exec
Exec in charge of phys prod
Exec in charge of post prod
Exec in charge of post prod
Line prod, addl photog
WRITER
PHOTOGRAPHY
Dir of photog
Dir of photog, 2d unit
Dir of photog, Chicago unit
Dir of photog, addl photog
Dir of photog, addl photog 2d unit
Theatrical lighting des
Theatrical lighting des
Theatrical lighting, addl photog
Theatrical lighting asst, addl photog
1st asst cam
1st asst cam, 2d unit
2d asst cam
2d asst [cam], 2d unit
2d asst cam, Chicago unit
Cam loader
Cam trainee
Cam trainee
"B" cam op
"C" cam op
"B" cam 1st asst
"C" cam 1st asst
"B" cam 2d asst
"C" cam 2d asst
Tech lighting gaffer
Gaffer
Gaffer, 2d unit
Gaffer, addl photog
Gaffer, addl photog 2d unit
Best boy gaffer, addl photog 2d unit
Rigging gaffer
Tech lighting best boy
Virtuoso programmer
Dimmer board op
Dimmer board op
Dimmer board op
Follow spots
Follow spots
Follow spots
Follow spots
Best boy, addl photog
Best boy elec
Best boy elec
Best boy elec, 2d unit
Genny op
Rigging elec
Rigging elec
Key grip
Key grip, 2d unit
Key grip, Chicago unit
Key grip, addl photog
Best boy grip
Best boy grip, 2d unit
Best boy grip, addl photog 2d unit
Dolly grip
Dolly grip, 2d unit
Dolly grip, Chicago unit
Grip
Grip, addl photog 2d unit
Key rigging grip
Asst key rigging grip
Rigging grip
Rigging grip
Rigging grip
Rigging grip
Rigging grip
Key flyman
Flyman
Video asst
Video asst
Video asst, 2d unit
Stills photog
Stills photog
Cam tech, Chicago unit
Cam lighting and grip equipment
Cam lighting and grip equipment
Automated lighting provided by
Post prod film equipment
Post prod film equipment
ART DIRECTORS
Prod des
Art dir
Art dir, addl photog
1st asst art dir
1st asst art dir
3rd asst art dir
3rd asst art dir
Graphic des
Illustrator
Art dept coord
Art dept apprentice
Storyboard artist
FILM EDITORS
Assoc ed
Assoc ed
1st asst film/VFX ed
Apprentice ed
Apprentice ed, Toronto
1st asst digital ed, Toronto
1st asst film ed, Toronto
2d asst film ed, Toronto
Negative cutter
Video dailies
SET DECORATORS
Set des
Set des, addl photog
Set dec
Set dec, addl photog
Buyer
Lead man
Lead man
On set dresser
Prop master
Prop master, 2d unit
Prop master, addl photog 2d unit
Asst prop master
Asst props, 2d unit
Prop buyer
Props asst
Const coord
Head carpenter/Foreman
Asst head carpenter
Loc head carpenter
Loc head carpenter
Office asst
Key metal fabricator
1st asst metal fabricator
Metal fabricator
Metal fabricator
Metal fabricator
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
Carpenter/Laborer
On set stand by carpenter
Key scenic artist
Asst scenic artist
Head painter
Asst head painter
On set stand by painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Painter
Head plasterer
Plasterer
Plasterer
COSTUMES
Cost des
Ward supv
Ward supv, 2d unit
Ward buyer
Set supv
Asst set supv
Asst set supv
Head cutter
Cutter
Principal stitcher
Seamstress
Seamstress
Seamstress
Dyeing/Breakdown
Ward prod asst
Ms. Zellweger's dresser
Ms. Zeta-Jones' dresser
Mr. Gere's dresser
Furs for Ms. Zellweger & Ms. Zeta-Jones provided b
MUSIC
Mus dir and cond
Orig score mus wrt & prod
Orig score mus cond/Orch
Addl song/Score adpt cond
Addl score adpt and dance mus arr
Exec mus prod
Exec mus prod
Cast recordings prod
Cast recordings prod
Mus supv
Assoc mus supv
Mus playback op
Mus playback op
Mus playback op
Vocal coach
Supv mus ed
Mus ed for Danny Elfman
Asst orig score mus ed
Asst orig score mus ed
Asst mus ed
Asst mus ed
Lip sync ed
Lip sync ed
Vocal arr, cast recordings
Orch, cast recordings
"Razzle Dazzle" orch, cast recordings
Drummer, cast recordings
Rec eng, cast recordings
Rec eng, cast recordings
Pro tools eng, cast recordings
Pro tools eng/2d eng, cast recordings
Mixing eng, cast recordings
London mus sessions rec at
Studio mgr, Air Studios
1st asst, Air Studios
2d asst, Air Studios
Tech, Air Studios
Tech, Air Studios
London musicians' contractor
London copyist
Wake Productions coord
Trumpet
Trombone
Tuba
Violin soloist
Double bass
Drums
Banjo/Jazz guitar
Percussion
Reed 1: Soprano and alto sax/clarinet
Reed 2: Soprano, alto and tenor sax/clarinet
Reed 3: Tenor and baritone sax/clarinet/bass clari
Reed 3: Tenor and baritone sax/clarinet/bass clari
Toronto vocals rec at
New York addl background vocals rec at
Soundtrack mastered by
at Sterling Sound, New York City
Orig score mus pub
Orig score mus rec and mixed by
Recordist
MIDI supv and preparation by
Tech support
Mus preparation
Orig score mus orch contracted by
Orig score mus orch contracted by
Orig score mus rec and mixed at
Tech eng
Scoring stage crew
Scoring stage crew
Mus coord
Soundtrack available on
SOUND
Sd mixer
Sd mixer, addl photog
Supv sd ed
Re-rec mixer
Re-rec mixer
Sd eff ed
Asst sd ed
Dial ed
Supv ADR ed
ADR ed
ADR ed
Asst ADR ed
Supv foley ed
Foley ed
ADR mixer
ADR mixer
ADR mixer
ADR recordist
ADR recordist
ADR recordist
Foley artist
Foley recordist
Foley recordist
Foley recordist
Machine room op
Machine room op
Background voices
Mixed at
VISUAL EFFECTS
Spec eff coord
Asst head spec eff
Spec eff head on set
Spec eff asst head on set
Spec eff pre-rig head
Asst head pre-rig spec eff
Spec eff tech
Spec eff tech
Spec eff tech
Video dubbing
Visual eff
Visual eff supv
Visual eff supv, Custom Film Effects
Des/visual eff supv, Big Film Design
VP visual eff
Visual eff exec prod
Visual eff prod
Visual eff prod, Custom Film Effects
Visual eff prod, Big Film Design
Visual eff coord
Data wrangler
On set supv
On set supv/Lead digital compositor
Digital matte painting
Digital compositing
Digital compositing
Digital compositing
Digital compositing
Addl compositing
Addl compositing
Addl compositing
Digital film tech
Digital film tech
2K spirit data transfers
2K spirit data transfers
Visual eff dept mgr
VP of engineering
Visual eff systems integrator
Asst systems integrator
CGI developer
CGI developer
Addl services provided by
Addl services provided by
Addl visual eff and end title des
Title des
Digital lead artist
Digital artist
Digital artist
Digital artist
Digital artist
Digital artist, Big Film Design
Digital artist, Big Film Design
Digital artist, Film East Visual Effects
Digital editorial
Digital I/O mgr
Opening title des and addl visual eff
Optical and digital eff
Compositor, Film Effects Inc.
Compositor, Film Effects Inc.
Compositor, Film Effects Inc.
Compositor, Film Effects Inc.
Addl visual eff
Digital eff prod
Digital eff supv
Inferno compositor
VFX scanning by
Sr. prod supv, Cyne-Byte Imaging Inc.
Tech supv, Cyne-Byte Imaging Inc.
Scanning and rec, Cyne-Byte Imaging Inc.
Scanning and rec, Cyne-Byte Imaging Inc.
Scanning and rec, Cyne-Byte Imaging Inc.
Scanning and rec, Cyne-Byte Imaging Inc.
Project coord, Cyne-Byte Imaging Inc.
Prod coord, Cyne-Byte Imaging Inc.
DANCE
Choreographed by
Choreographic supv
Assoc choreographer
Assoc choreographer
Asst choreographer
Mr. Gere's tap steps created by
MAKEUP
Key hair stylist
Key hair, 2d unit
Asst hair stylist/Hair stylist addl photog 2d unit
Asst hair stylist
Asst hair stylist
Hair stylist for Ms. Zellweger
Hair stylist for Ms. Zellweger, addl photog
Hair stylist for Ms. Zeta-Jones
Hair stylist for Mr. Gere
Key makeup
Makeup artist, 2d unit
Makeup, addl photog 2d unit
Makeup asst
Makeup asst
Makeup for Ms. Zellweger
Makeup for Ms. Zeta-Jones
Makeup for Mr. Gere
PRODUCTION MISC
Prod mgr
Casting
Casting
Canadian casting
New York dance casting
New York dance casting
New York casting asst
Dance casting Canada
Extra's casting
Extra's casting asst
Extra's casting asst
Voice casting
Scr supv
Scr supv, 2d unit
Prod supv, addl photog
Post prod supv
Prod coord
Prod coord, addl photog
Asst coord
Post prod coord
Travel coord
Prod secy
Prod secy, addl photog
Prod asst
Prod asst
Asst to Mr. Marshall
Ms. Zeta-Jones' dialect coach
Asst to Mr. Richards
Asst to Mr. Richards
Asst to Mr. Meron & Mr. Zadan
Asst to Mr. Carmody
Asst to Mr. Harvey Weinstein
Asst to Mr. Harvey Weinstein
Asst to Ms. Poster
Asst to Ms. Goldstein
Asst to Ms. Berman
Asst to Ms. Zellweger
Asst to Ms. Zeta-Jones
Asst to Ms. Latifah
Post prod intern
Post prod intern
Post prod intern
Post prod intern
Post prod intern
Loc mgr
Loc mgr/Coord, Chicago unit
Asst loc mgr
Loc prod asst
Loc prod asst
Accountant
Wake Productions accountant
1st asst accountant
1st asst accountant, addl photog
2d asst accountant
2d asst accountant
3rd asst accountant
3rd asst accountant
Payroll accountant
Payroll asst
Post prod accountant
Post prod accounting services
Unit pub
Transportation coord
Transportation coord, addl photog
Transportation capt, addl photog 2d unit
Driver capt
Driver capt, 2d unit
Driver capt, addl photog
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Driver
Main truck package driver, 2d unit
Craft service, addl photog 2d unit
Server
Server
Catering
Catering
Catering
Catering
Catering
Prod legal asst
Medical therapist
Medical therapist
Medical therapist
Medical therapist
Wake productions bus affairs
Banking services
STAND INS
Stunt coord
Acrobat coach
Cirque Sublime
Ms. Zellweger's stand-in
Ms. Zeta-Jones' stand-in
Mr. Gere's stand-in
ANIMATION
Anim supv
3D anim
3D anim
3D anim
3D anim
COLOR PERSONNEL
Col timer
SOURCES
LITERARY
Based on the musical Chicago , book by Bob Fosse and Fred Ebb, music by John Kander, lyrics by Fred Ebb, directed and choreographed for the stage by Bob Fosse, produced on the stage by Robert Fryer, James Cresson and Martin Richards, in association with Joseph Harris and Ira Bernstein, lyrics and music published by Unichappell Music, Inc. (New York, 3 Jun 1975), which was based on the play Chicago by Maurine Dallas Watkins (New York, 30 Dec 1926).
LITERARY SOURCE AUTHORS
+
MUSIC
“Tap Dance,” written and performed by Perry Cavari
“Overture” and “Exit Music” written by John Kander, published by Unichappell Music, Inc. (BMI) and “Chicago” by Fred Fisher, published by Sony Music and EMI Music Publishing, ASCAP.
SONGS
“And All That Jazz,” “When You’re Good to Mama,” “Cell Block Tango,” “Roxie,” “Me and My Baby,” “Razzle Dazzle,” “Nowadays," "Hot Honey Rag,” “Funny Honey,” “All I Care About Is Love,” “We Both Reached for the Gun,” “I Can’t Do It Alone,” “Mr. Cellophane” and “I Move On,” music by John Kander, lyrics by Fred Ebb, published by Unichappell Music, Inc. (BMI)
“Raisin' the Roof,” music by Jimmy McHugh, lyrics by by Dorothy Fields, published by Aldi Music Company and EMI Music Publishing, ASCAP.
SONGWRITERS/COMPOSERS
+
DETAILS
Release Date:
7 February 2003
Premiere Information:
Los Angeles premiere: 10 Dec 2002; Palm Springs, CA showing: 19 Dec 2002; New York and Los Angeles opening: 27 Dec 2002; addl openings: 3 Jan 2003
Production Date:
12 Dec 2001--late Apr 2002 in Toronto
Copyright Info
Claimant
DATE
CopyrightNumber
KALIS Productions GmbH & Co. KG
2002
Physical Properties:
Sound
Dolby Digital; dts Digital Sound; SDDS Sony Dynamic Digital Sound in selected theatres
Color
Deluxe Toronto; Kodak motion picture film
gauge
35mm
Duration(in mins):
113
MPAA Rating:
PG-13
Countries:
Canada, United States
Language:
English
PCA No:
39516
Passed by NBR:
No
SYNOPSIS

On a January night in 1920s Chicago, Velma Kelly is arrested at the Onyx Club for murdering her husband and dancing-partner sister, who were having an affair. That same night, aspiring performer Roxie Hart begins an affair with furniture salesman Fred Casely, after Fred promises to introduce her to the club’s manager. A month later, Fred has had enough of Roxie and callously tells her he does not know the manager, she has no talent and they are through. When Roxie loudly protests, Fred pushes and threatens her, prompting her to grab a gun and shoot him three times. By the time the police arrive, Roxie has convinced her gullible husband Amos that the dead man was an intruder. Amos tells the police that he arrived home from his job at a garage and shot a burglar to protect his sleeping wife. However, when Amos learns that the dead man is Fred, who sold them their furniture, he knows Roxie has lied and lashes out at her, revealing everything. The police immediately arrest the defiant Roxie, and as she is taken away, Assistant District Attorney Harrison tells her that she has committed a hanging offense. Now frightened, Roxie is taken to the women’s prison where she is held on “murderesses’ row” with several other women accused of killing their lovers or husbands. Roxie’s spirits are temporarily revived by meeting the shrewish Velma, but she quickly learns that life in jail will be miserable unless she has money to bribe the prison matron, Mama Morton. Roxie learns how to advance herself, and although Velma remains hostile, Mama advises that she could use ...

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On a January night in 1920s Chicago, Velma Kelly is arrested at the Onyx Club for murdering her husband and dancing-partner sister, who were having an affair. That same night, aspiring performer Roxie Hart begins an affair with furniture salesman Fred Casely, after Fred promises to introduce her to the club’s manager. A month later, Fred has had enough of Roxie and callously tells her he does not know the manager, she has no talent and they are through. When Roxie loudly protests, Fred pushes and threatens her, prompting her to grab a gun and shoot him three times. By the time the police arrive, Roxie has convinced her gullible husband Amos that the dead man was an intruder. Amos tells the police that he arrived home from his job at a garage and shot a burglar to protect his sleeping wife. However, when Amos learns that the dead man is Fred, who sold them their furniture, he knows Roxie has lied and lashes out at her, revealing everything. The police immediately arrest the defiant Roxie, and as she is taken away, Assistant District Attorney Harrison tells her that she has committed a hanging offense. Now frightened, Roxie is taken to the women’s prison where she is held on “murderesses’ row” with several other women accused of killing their lovers or husbands. Roxie’s spirits are temporarily revived by meeting the shrewish Velma, but she quickly learns that life in jail will be miserable unless she has money to bribe the prison matron, Mama Morton. Roxie learns how to advance herself, and although Velma remains hostile, Mama advises that she could use all of the publicity she has gotten not only to win her case, but fulfill her dream of going on the stage. For one hundred dollars, Mama says she will call criminal lawyer Billy Flynn, who has never lost a case. The still-loyal Amos goes to see Billy in his swank office, but has to admit that he can only raise $2,000 of Billy’s $5,000 fee. The high-living, greedy Billy initially refuses, then decides to take the case anyway, figuring he can raise the rest by auctioning off Roxie’s personal belongings through an intense publicity campaign. Velma is incensed that Billy, who is also her lawyer, would take the case and disgusted when she sees the change in Roxie that Billy has effected. Following Roxie’s arraignment, Billy tells eager reporters at a press conference on the courthouse steps, that Roxie, who now sports marcelled, light blonde hair, admits to shooting Fred, but it was self-defense: they both reached for the gun at the same time. Giving Roxie a fabricated background as an orphaned Southern belle reared in a convent school, Billy tells the press that her innocence was corrupted in Chicago by a combination of liquor and jazz. He tries to orchestrate Roxie’s remarks, but Roxie, who has decided to heed Velma’s warning that Billy is only out for himself, blurts out “I bet ya wanta know why I shot the bastard.” Reporter Mary Sunshine and the others love the tale that she and Billy concoct, and soon Roxie is headline news, pushing Velma’s story to the back pages. Everyone in Chicago seems to be enchanted by the innocent-looking Roxie, and the auction of her belongings brings in enough money to cover Billy’s fee and ensure Roxie a comfortable existence in jail. One night, Hawaiian pineapple heiress Kitty Baxter kills her lover and two women when she finds them in bed together. Seeing the press and Billy swarm around the snarling Kitty as she is brought into jail, Roxie feels her fame slipping away and feigns a collapse. When Mary Sunshine and Billy rush to her, Roxie shyly says she hopes the fall did not hurt “the baby.” Now a media darling again, Roxie tells the press that she is now only interested in protecting her unborn child. Velma is enraged by Roxie’s publicity, especially as Billy has lost interest in her own case, and complains to Mama, who tells her that she needs to play up to Roxie. Although Velma initially refuses to do that, she soon relents and asks Roxie if she would like to take over her sister’s part in her act. No longer impressed by Velma, Roxie coldly turns her down. Preparing for the start of her trial, Roxie objects to the demure-looking dress that Billy wants her to wear in court. The two argue over who is in charge and Roxie fires Billy, confident that her fame will get her acquitted without his help. A short time later, Katalin Hunyak, the only innocent woman on murderesses’ row, loses her last conviction appeal and is hanged, the first woman executed in Chicago in forty-seven years. Frightened now, Roxie gets Billy back on her case and promises to do whatever he wants to win. Despite Harrison’s best efforts, Billy dazzles the jurors and the judge with his tactics during Roxie's trial. While Roxie sweetly knits baby clothes, Amos takes the stand and admits that he has started divorce proceedings against her because he is not the father of her unborn child. Billy seizes the moment to make the befuddled Amos believe that he is the father, and after testifying, Amos embraces the misty-eyed Roxie and says that he wants to take her back. When Roxie takes the stand, she coyly raises her skirt to the all-male jury and testifies that she killed Fred in self-defense after she tried to break off their affair and he threatened her. Meanwhile, as Velma and Mama listen to Mary Sunshine’s radio broadcast of the trial, Velma seethes and Mama says that Roxie has abandoned all of her friends. They both brighten, though, when Mama shows her that she has Roxie’s diary in her possession. In court the next day, Velma is called by Harrison as a surprise rebuttal witness. During her testimony, she reads pages from Roxie’s diary that state she deliberately shot Fred and would do it again. Now faced with seemingly damning testimony, Billy cross-examines Velma and makes her admit that Harrison got her testimony in exchange for dropping all charges against her. Billy then suggests that Harrison concocted the phony diary pages to falsely convict Roxie. The jury quickly finds Roxie not guilty, but immediately after the verdict is read, shots ring out on the courthouse steps as a woman shoots her attorney dead. The reporters rush away, leaving the perplexed Roxie to ask what went wrong. Billy, who reveals that he arranged for the diary testimony, shrugs and tells her "this is Chicago" before leaving. Once alone with Roxie, Amos asks her to reconcile with him for the sake of the baby, but she turns him down, snarling that there was no baby and with all of her publicity, she will soon be a star. Over the next few weeks, Roxie tries to get a nightclub job but has no luck. After an unsuccessful audition at the Onyx, Velma grudgingly admits to her that she has talent and suggests that they team up because one "jazz killer" is nothing anymore, while the two of them together would be sensational. Roxie is reluctant at first, because she hates Velma, but Velma assures her that there is only one business in which that is not a problem. A short time later, Roxie and Velma are headliners at the Chicago Club, much to the delight of Billy, Mama and everyone else in Chicago.

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Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.