Chicago Page #5

Synopsis: Murderesses Velma Kelly (a chanteuse and tease who killed her husband and sister after finding them in bed together) and Roxie Hart (who killed her boyfriend when she discovered he wasn't going to make her a star) find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.
Genre: Comedy, Crime, Musical
Director(s): Rob Marshall
Production: Miramax Films
  Won 6 Oscars. Another 51 wins & 128 nominations.
 
IMDB:
7.2
Metacritic:
82
Rotten Tomatoes:
85%
PG-13
Year:
2002
113 min
Website
5,943 Views


at the earIiest possibIe date.

Are there any questions?

Miss Sunshine.

As you know, my paper is dry.

Do you have any advice

for young girIs

seeking to avoid

a Iife of jazz and drink?

AbsoIuteIy, yes.

Mrs. Hart feeIs that

it was the tragic combination

of Iiquor and jazz

which Ied to her downfaII .

Next question , pIease.

Ladies and gentIemen . . .

I wouId Iike to say

how fIattered I am

that y'aII came to see me.

Mrs. Hart is very pIeased --

I was a moth

crushed on the wheeI .

You know, a butterfIy

drawn to the. . .

I bet you want to know

why I shot the bastard .

Shut up, dummy.

BANDLEADER:
Mr. BiIIy FIynn

in ''The Press Conference Rag .''

Notice how his mouth

never moves.

AImost.

Where'd you come from?

Mississippi

And your parents?

Very wealthy

Where are they now?

Six feet under

But she was granted

one more start

The Convent

of the Sacred Heart

When'd you get here?

1 920

How old were you?

Don't remember

Then what happened?

l met Amos

And he stole my heart away

Convinced me

to elope one day

Poor dear! I can't beIieve

what you've been through !

A convent girI .

A runaway marriage.

TeII us, Roxie. . .

Who's Fred Casely?

My ex-boyfriend

Why'd you shoot him?

l was leavin'

Was he angry?

Like a madman

Still l said,

''Fred, move along''

She knew that

she was doing wrong

Then describe it

He came toward me

With the pistol?

From my bureau

Did you fight him?

Like a tiger

He had strength,

and she had none

And yet we both

reached for the gun

Oh, yes, oh, yes,

oh, yes, we both

Oh, yes, we both, oh, yes,

we both reached for

The gun, the gun,

the gun, the gun

Oh, yes, we both reached

for the gun, for the gun

Oh, yes, oh, yes,

oh, yes, they both

Oh, yes, they both, oh, yes,

they both reached for

The gun, the gun,

the gun, the gun

Oh, yes, they both reached

for the gun, for the gun

Understandable

Understandable

Yes, it's perfectly

understandable

Comprehensible

Comprehensible

Not a bit reprehensible

lt's so defensible

How you feelin'?

Very frightened

Are you sorry?

Are you kidding?

That's your statement?

All l'd say is

Though my choo-choo

jumped the track

l'd give my life

to bring him back

- And?

- Stay away from

- What?

- Jazz and liquor

- And?

- And the men who

- What?

- Play for fun

- And what?

- That's the thought that

- Yeah?

- Came upon me

When?

When we both

reached for the gun

Understandable

Understandable

Yes, it's perfectly

understandable

Comprehensible

Comprehensible

Not a bit reprehensible

lt's so defensible

Oh, yes, oh, yes,

oh, yes, they both

Oh, yes, they both, oh, yes,

they both reached for

Let me hear it.

The gun, the gun

Oh, yes, they both reached

for the gun, for the gun

A little louder

Oh, yes, oh, yes,

oh, yes, they both

Oh, yes, they both, oh, yes,

they both reached for

The gun, the gun,

the gun, the gun

Oh, yes, they both reached

for the gun, for the gun

Now you got it

Oh, yes, oh, yes,

oh, yes, they both

Oh, yes, they both, oh, yes,

they both reached for

The gun, the gun,

the gun, the gun

Oh, yes, they both reached

for the gun, for the gun

Oh, yes, oh, yes,

oh, yes, they both

Oh, yes, they both, oh, yes,

they both reached for

The gun, the gun,

the gun, the gun

The gun, the gun,

the gun, the gun

The gun, the gun,

the gun, the gun

The gun, the gun,

the gun, the gun

Both reached for the

Gun

Both reached for the gun

Move over, AI Capone.

The Windy City has taken

a new criminaI to its heart.

The name on everybody's Iips

is Roxie Hart.

The sweetest IittIe Iady ever

accused of murder in Chicago.

Women want to Iook Iike her.

FeIIas want to go out with her.

Some IittIe girIs

even want to take her home.

Don't get any ideas,

IittIe Iady.

On the other side of town . . .

the assistant D.A. promises

the game IittIe sharpshooter

wiII swing

before the year is up.

Who knows?

If he Iives up to his word ,

Assistant D.A. Harrison

might become

Governor Harrison someday.

Back at the scene

of the crime. . .

everybody wants

a IittIe piece of Roxie Hart.

This jar of coId cream

set her husband back $20.

Maybe this pretty IittIe Iady

wiII get some

of that famous Roxie styIe.

It seems everybody these days

is rooting for Roxie Hart.

Take those wiIting fIowers

to the orphanage

and make sure they know

who sent them .

So, kiddo, given any thought

to what you want to do

after BiIIy gets you off?

I think I'd Iike to go

on the stage.

I figured as much .

I aIready caIIed

the Morris office.

ReaIIy?

How much is that

gonna cost me?

My standard deaI .

Yeah , weII , we'II see, Mama.

Besides, I don't even have

an act yet.

KiIIing Fred CaseIy

was your act.

Those stiffs in the audience

want to say they saw

somebody famous.

That's a freak act.

And besides,

I am better than that.

WeII , of course you are,

cupcake.

You can be as big as

Sophie Tucker.

You reaIIy think so?

Bigger than Cantor

and JoIson combined .

I aIways wanted to have my name

in aII the papers.

Before I met Amos. . .

I used to date this

weII-to-do ugIy bootIegger.

He used to Iike to take me out

and show me off.

UgIy guys Iike to do that.

Once it said in the paper:

''GangIand's AI CapeIIi

seen at Chez Vito

with cute bIond chorine.''

That was me.

I cIipped it, and I saved it.

You know, aII my Iife,

I wanted to have my own act.

But, no. No, no.

They aIways turned me down .

One big worId fuII of ''no.''

And then Amos came aIong .

Safe, sweet Amos. . .

. . .who never says no.

I've never done this before.

But, you know,

it is such a speciaI night.

You are such a great audience!

[ Cheers and appIause ]

And I reaIIy feeI Iike I can

taIk to you , you know?

So forget what

you've read in the papers.

Forget what you've heard

on the radio, because. . .

I'm gonna teII you the truth .

Not that

the truth reaIIy matters.

[ Rim shot, Iaughter ]

But I'm gonna teII you anyway.

In the bed department. . .

Amos was zero.

[ Laughter ]

When he made Iove to me. . .

it was Iike he was fixing

a carburetor or something .

[ Imitating Amos ]

''I Iove ya, honey. I Iove ya.''

[ Laughter ]

Anyway,

I started fooIing around .

Then I started

screwing around ,

which is fooIing around

without dinner.

[ Rim shot, Iaughter ]

Then I met Fred CaseIy. . .

who said that he couId get me

into vaudeviIIe. . .

. . .but that didn't quite

work out Iike I pIanned .

I guess it didn't reaIIy work

out too great for Fred , either.

[ Rim shot, Iaughter ]

So I gave up

on the whoIe vaudeviIIe idea

because you kinda figure

after aII those years. . .

. . .opportunity's just

passed you by.

But it ain't

Oh, no, no, no, no,

but it ain't

And now?

WeII , if this FIynn guy

gets me off. . .

with aII this pubIicity. . .

I got me a worId fuII of ''yes!''

The name

on everybody's lips

ls gonna be Ro xie

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Bill Condon

William Condon (born October 22, 1955) is an American screenwriter and director. He wrote and directed the films Gods and Monsters (1998), Kinsey (2004), and Dreamgirls (2006), wrote the screenplay for Chicago (2002), and directed the final two installments of the Twilight series (2011, 2012), and Beauty and the Beast (2017). Condon won an Academy Award as screenwriter for Gods and Monsters; he was also nominated for his screenplay for Chicago. His work in television includes directing pilot episodes for several series. more…

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