Just watched Chicago the other day. Well, I admit that I am Old Fashion, but there are some things that I would rather encounter by chance, so when I browse to Chicago on my colleague's computer, I will naturally not miss it again. Reaching the black hand to Broadway's classic stage play, and bringing it to the big screen after the change, is this the latest trick of those savvy investors and directors in Hollywood? Although there are few successes, the skinny camel is bigger than a horse, and no matter how you move it, you can win a little pity from film critics. However, Chicago, the six-Oscar-winning song and dance blockbuster, traded 171 million in the United States and 3. The 6 billion box office is indeed a double harvest of business and art, but I would rather call it a satire of social reality than a musical. It is not a traditional song and dance drama that praises truth, goodness and beauty or the supremacy of love. Even in the performance and focus of song and dance, the Chicago drama does not perform well; but in the sense of exposing social reality and ridicule, it is better than ordinary The song and dance blockbuster is more and more inferior. I believe that the judges of the American Film Guild are also considering this point? The "spirit of a great entertainer" proposed by Chicago runs through the whole drama. Following this concept, the plot is used and the characters are enriched. Similarly, with this concept, the images of the three protagonists are dismantled to pieces in the end. What is the "big entertainment spirit" of Chicago? It is manifested in Richard Gere's Chicago barrister Billy Flynn's politeness, covering the sky, and inverting black and white. It is manifested in the blood-blade relatives of Velma Kelly, a dancer played by Catherine Zeta-Jones, and Roxie's love and vanity played by Renee Zellweger. And the director Rob Marshall gave the three protagonists a seemingly complete and even absurd ending. Was it out of business needs, or did it imply a mockery of reality? I believe you all have their own opinions. This article is not too much to argue. I haven't fully recovered my body shape after giving birth. Catherine Zeta-Jones's singing and dancing skills really shocked me! Even in the article, I always think it is the female number one: every dance movement is quite in place, the coquettish in a smile, smoking and taking pictures, and of course a thick, magnetic voice. The most memorable scenes: when Zellweger was regarded as the number one client of Barrister Gere, the sad frustration in Zeta-Jones's eyes; when in order to please Zellweger, like a clown to persuade her to partner with her Combination (the drama type Zeta-Jones doesn't need it, it just needs to use Zellweger to revive her previous statement); when she was finally released from prison, she sincerely invited Zellweger to join her again, and slightly embarrassed to cover her current dilemma. Three scenes, three mentalities, and three expressions, but they all show the self-confidence and arrogance of the character itself. It can be seen from Zeta-Jones The role of this dancer has long been figured out. Renee Zellweger's role is not as breakthrough as in Cold Mountain a few years later, but the performance is still remarkable, although the first appearance of Catherine Zeta-Jones did not make her much inferior. The married woman played by Zellweger was supposed to be content with family affairs, but was completely lost in the shining spotlight. She voluntarily dedicated herself to becoming a singer but was deceived. It suddenly became clear that she was so angry that she actually fired her gun. In prison, she was scared and haggard from the beginning. After the "hype" and "packaging" played by Richard Gere as a lawyer, she suddenly became popular. She changed from a murderer to a victim, and was about to be caught by the media. Under the circumstances of abandonment and total fall out of favor, the "emergence of wisdom" and "fainting during pregnancy" have once again detonated the media's pursuit of frenzy. These are all kinds of "hype" and "exposure" entertainment events in the eccentric entertainment circle. However, at the moment when he was finally found not guilty, Zellweger fell from the paradise to the hell of reality. Letters from fans, flowers! Having regained a new life, she seems to have begun to reminisce about the good time in prison, which is another wonderful irony. Zellweger's performances are sometimes sexy and pitiful, portraying the characters in flesh and blood, which makes people love and hate; and her explosive voice and slightly hoarse voice in the high range make people think that she can't make a jazz album. It was a waste of this good voice. Two women, one man and one play, but this actor's choice was really a failure. He can be John Travolta or Antonio Banderas, of course Ewan McGregor can also be considered... But Richard Ger? Why is it Richard Gere? From the moment he appeared on stage, he was out of tune with the entire musical. No one questioned Richard Gere's image or acting skills. You must know that this hypocritical and polite character is tailor-made for him. When it comes to singing and dancing... You know how poor his voice and physical coordination are. However, the climax of the Chicago drama is from Richard Gere and Renee Zellweger The puppet show for the two begins, and the funny and exaggerated facial expressions of the two are especially worthy of repeated consideration. There are also two supporting roles and two dance dramas that need to be mentioned, one is Queen Latifah, who plays the prisoner Mrs. Morton, and Mya, the female prisoner number 6 in the extremely classic Cell Block Tango. Queen Latifah, who is a big sister in the Hip-hop/Rap world, has years of acting experience in movies and dramas, and it is natural that the prisoner has a certain "weight" role to find her. In the When You're Good to Mama section when Queen played, the rush 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 6 female prisoners has good creativity, editing, song and dance choreography, and better dancers. In addition to supporting actress Zeta-Jones, all of them are Is a professional background. Personally, I like Susan Misner, the black female prisoner Deidre Goodwin, and Russian dancer Ekaterina Chtchelkanova who are the first to appear. Of course, there is also the huge side dish: Female Prisoner No. 6, American R& B female singer Mya, but to be honest, this role did not give her any chance to perform. It seems that many people, many film critics, and many professional film critics compare Chicago with Moulin Rouge, and even say that Chicago was made hastily because of the sudden popularity of Moulin Rouge. This is pure nonsense. In fact, as early as 1996, Chicago began the selection of the heroine, and Madonna, the most promising at the time, chose the latter between Chicago and Evita. The details are recorded in any Madonna biography. As time went by, the script needed to be edited, the actors were not suitable candidates, and investors and film companies gradually lost their confidence. In the end, the filming plan had to be shelved and the start-up was nowhere in sight. It was not until the great success of Moulin Rouge that Miramax once again had the confidence to salvage a fortune, and then reorganized the crew to shoot, and finally brought you this "big entertainment" Chicago. And also as a musical, relative to the serious theme of Chicago’s current abuses, Moulin Rouge’s subject matter is quite regular: a romantic tragedy; the same song and dance plot plays a different role in the two dramas: in Chicago, the song and dance plot is a plot to the plot. In Moulin Rouge, the song and dance plot is subordinate to the plot and cannot be taken away. To make an unsuitable analogy: If the Chicago drama is "Dream of Red Mansions", Moulin Rouge is "Romeo and Juliet", a classic both at home and abroad, and each has its own advantages. If you have seen Chicago, it is better to review it now. If you haven't watched it, you might as well find it. Such a movie, chance encounter, is too difficult. Appendix: Recommend a commentary on the song and dance fragments of the play Zhou Liming: Appreciation of the lyrics of "Chicago" In Moulin Rouge, the song and dance plot is subordinate to the plot and cannot be taken away. To make an unsuitable analogy: If the Chicago drama is "Dream of Red Mansions", Moulin Rouge is "Romeo and Juliet", a classic both at home and abroad, and each has its own advantages. If you have seen Chicago, it is better to review it now. If you haven't watched it, you might as well find it. Such a movie, chance encounter, is too difficult. Appendix: Recommend a commentary on the song and dance fragments of the play Zhou Liming: Appreciation of the lyrics of "Chicago" In Moulin Rouge, the song and dance plot is subordinate to the plot and cannot be taken away. To make an unsuitable analogy: If the Chicago drama is "Dream of Red Mansions", Moulin Rouge is "Romeo and Juliet", a classic both at home and abroad, and each has its own advantages. If you have seen Chicago, it is better to review it now. If you haven't watched it, you might as well find it. Such a movie, chance encounter, is too difficult. Appendix: Recommend a commentary on the song and dance fragments of the play Zhou Liming: Appreciation of the lyrics of "Chicago" http://www.mov8.com/dvd/freetalk_show.asp?id=8449
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