CD REVIEW – CHICAGO Soundtrack from the Miramax Movie
Music by John Kander, Lyrics by Fred Ebb
[Before Fred met John, he’d attempted a songwriting relationship with Joh Bjelke- Peterson’s wife, and so experienced the Ebb and Flo of the industry.]
This is a review of the soundtrack of the movie adaptation of the stage adaption of the contemporary adaptation of a Hans Christian Anderson children’s bedtime story:
“LIVING, BUT ULTIMATELY MURDERED, IN DOWNTOWN COPENHAGEN”
That’s about the only part of the review beyond dispute – the remainder is the reviewer’s personal opinion, and should not be taken as gospel, and certainly not repeated outside the confines of the places where it’s read.
Key Cast Members featured on the soundtrack:
Catherine Zeta-Jones, who I’ll marry once she’s woken up to herself and finally ditched the Douglas problem, plays murderess Velma Kelly
Renee Zellweger, who oozes sensuality and can actually sing (take several notes here Nicole and Gwynneth), plays another murderess Roxie Hart
Richard Gere just can’t keep away from pretty women, and because of my jealousy every effort was originally made to ridicule, defame and above all destroy the singing and dancing career he has embarked upon. However I know my editor would not approve, so let’s just say that he plays the role of lawyer Billy Flynn
Queen Latifah plays Matron Mama Morton, “mistress of murderers’ row”, and sounds as though she loves the role – of course she has had plenty of practice, murdering several film and TV parts and a number of hitherto acceptable songs.
You’ll be pleased to know that Ric Wake has produced much of Celine Dion’s work, so it was clear that the Chicago soundtrack was in safe hands with him as producer.
Sadly, Celine was unavailable to have her voice dubbed in for either of the 2 leading ladies’ roles.
So here’s the thing:
Catherine can sing legitimately (licensed at least to warble in California) and gives immediate credibility to her character, Velma, when she belts out everyone’s favourite ALL THAT JAZZ. Cath achieves the light and dark, soft and loud contrasts, which the track demands, and one can sense that dance is facilitated readily in a big way – classy and brassy. This woman will take no prisoners – she rouges her knees and rolls her stockings down and shimmies till her garters break. Quite sensible and educational.
Of course the OVERTURE precedes this, and although short, is an impressive dose of American rag with a touch of swing, an underlying theme to the film’s music.
Renee as Roxie follows the razzamatazz of ATJ, and she sings of love for her husband, Amos, in FUNNY HONEY. Initially a slow ballad, ultimately we receive a fierce statement of hatred for her “scummy crummy dummy hubby”, following his ratting on her.
Queen Latifah is full of worldly advice, as her Mama Morton bounces into WHEN YOU’RE GOOD TO MAMA backed perfectly by a brass complement. “When you’re strokin’ Mama, Mama’s stroking you” – you have my permission to employ your imagination at this point.
Murderous comedy follows as 6 incarcerated murderesses, including Velma Kelly, regale us with their respective deadly exploits in CELL BLOCK TANGO. The theme is “He had it comin’”, and that chorus is interspersed with a number of spoken anecdotes, with classic lines:
E.G. Liz, played by Susan Misner, did not like her husband Bernie popin’ gum, so she “...fired two warning shots...into his head...”
E.G. June, played by Deidre Goodwin, was carving a chicken when her husband stormed in accusing her of adultery. He unluckily “ran into my knife! He ran into my knife ten times!”
Richard Gere, as lawyer Billy Flynn, brings back memories of vaudeville when he confesses that “ALL I CARE ABOUT is love”. Superb backing from the pretty women in the female chorus, and no Julia Roberts amongst them. On the down side, poor Dickie must have forgotten his words, resorting to a mere whistle at important stages.
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WE BOTH REACHED FOR THE GUN is a fast paced track, probably because of the CD’s limited space, but it still manages to create the atmosphere of Roxie Hart’s press conference, where Billy Flynn answers all the media questions on the luscious blonde killer’s behalf.
Renee Zellweger sings ROXIE, an introspective look at the woman, enabled by a big production number, tempered with a soft jazz edge. It is here that those of us yet to fall in love with the lady who maintains that murder is an art, do so.
Welsh and wanton, Ms Zeta-Jones (whose voice could take control of Broadway) entertains listeners with I CAN’T DO IT ALONE – musical comedy at its best. Volunteers to assist in the doing of it with her are asked to queue in an orderly manner behind the marked line.
John C. Reilly plays the part of Amos Hart, Roxie’s husband, and contributes the ultimate in self deprecation when referring to himself as MISTER CELLOPHANE in the song about not being noticed.
“I’ll divorce her! She probably won’t even notice” are the sentiments as we feel a sense of sadness for almost a millisecond.
Richard Gere ups the tempo somewhat with RAZZLE DAZZLE, as Billy Flynn attempts to placate Roxie’s fears of facing trial.
“Throw ‘em a fake and a finagle They’ll never know you’re just a bagel Razzle Dazzle ‘em
And they’ll beg you for more”
RAZZLE DAZZLE sits commercially with ALL THAT JAZZ as a hook to purchase the CD (film even unseen) and Dickie handles it competently.
Velma Kelly and Mama Morton combine to sing the ironic duet CLASS, not seen and heard in the movie, but a valuable addition to the CD.
Taking the high moral ground, these two killers frown on how older day virtues are disappearing from society. Sung in fine harmony with satire abounding.
“Now, no one even says "oops" when they're passing their gas
Whatever happened to class?”
I think you get the picture.
Roxie sings about NOWADAYS, where things are so much better – the song starts softly and slowly but you just know it promises to reach showstopping status. The showstopping is achieved with the pairing of Roxie and Velma and a reprise of NOWADAYS followed by the HOT HONEY RAG. (the CD doesn’t allow you to see them dancing, but you can imagine it)
The two lovelies are knocking us dead again with the Academy Award nominated song I MOVE ON. This is jazz for general consumption, and a big vocal treat for the listener.
Jazz without vocals is offered with the next two tracks. Cool stuff from Danny Elfman and the band, initially slow and smoky stuff in AFTER MIDNIGHT, with the accent on woodwind and brass, but bumping it up a few notches for the showy, stylish ROXIE’S SUITE.
These days we have to put up with extended dance mixes and hip hop remixes, etc. No different, here – just don’t bother with CELL BLOCK TANGO (HE HAD IT COMIN’) unless you’re a fan of Lil Kim and Macy Gray. The only lil thing about Kim is her name, and Macy should know better.
Anastacia gets a guernsey on this album, having the pleasure of singing the song which overlays the film credits - LOVE IS A CRIME. At least she had some pleasure from singing it; I didn’t exact any from hearing it.
FINAL ANALYSIS (not to be confused with another Richard Gere film)
My worry was that this CD soundtrack may not remain faithful to the original music from the stage production, which I’ve seen and would see any number of times again, so there existed a subconscious initial bias.
On balance, though, this is a top class film soundtrack, with an unquantifiable edge of its own.
Forget the last 2 tracks – The brilliant and delectable Catherine Zeta-Jones & Renee Zellweger, with surprisingly high quality support from Richard Gere and others, make for an enjoyable ride from go to whoa.
Your Apex music critic
