CHANAKYA NATIONAL LAW UNIVERSITY

NYAYA NAGAR, MITHAPUR, PATNA (800001)

A Project on
MOVIE CHICAGO

A final project submitted in fulfilment of the course during the Academic Session 2018-19

LAW AND LITERATURE

Submitted To:
Dr. Pratyush Kaushik
Asst. Professor of literature

Submitted By:
MUKESH KUMAR YADAV
Roll no.: - 1940
Semester: - 2nd
Session: - 2018-2023
Course: B.A.LL.B.(Hons.)
 ACKNOWLEDGEMENT

I take this opportunity to express my profound gratitude and deep regards to my guide Dr.
Pratyush Kaushik for his exemplary guidance, monitoring and constant encouragement
throughout the course of this research. The blessing, help and guidance given by him time to
time shall carry me a long way in the journey of life on which I am about to embark.

I also take this opportunity to express a deep sense of gratitude to him for providing me this
research topic and for his cordial support, valuable information and guidance, which helped
me in completing this task through various stages.

Lastly, I thank almighty, my parents, brother and friends for their constant encouragement
without which this assignment would not have been possible.

Thank You!
 DECLARATION
I hereby declare that the work reported in the B.A., LL.B. (Hons.) Project entitled “MOVIE
CHICAGO” submitted at Chanakya National Law University, Patna is an authentic record
of my work carried out under the supervision of Dr. Pratyush kaushik. I have not submitted
this work elsewhere for any other degree or diploma. I am fully responsible for the contents of
my Project work.
 TABLE OF CONTENTS
I. INTRODUCTION
II. MOVIE SUMMARY AND PLOT
III. ART OF CHARACTERISATION
IV. LEGAL ISSUES AND IMPLICATION
V. CONCLUSION

BIBLIOGRAPHY
 I. INTRODUCTION
Chicago is a 2002 American musical crime comedy-drama film based on the stage-musical of
the same name, exploring the themes of celebrity, scandal, and corruption in Chicago during
the Jazz Age. The film stars Renée Zellweger, Catherine Zeta-Jones, and Richard
Gere. Chicago centers on Velma Kelly (Zeta-Jones) and Roxie Hart (Zellweger), two
murderesses who find themselves in jail together awaiting trial in 1920s Chicago. Velma, a
vaudevillian, and Roxie, a housewife, fight for the fame that will keep them from the
gallows. Directed and choreographed by Rob Marshall, and adapted by screenwriter Bill
Condon, with music by John Kander and lyrics by Fred Ebb, Chicago won six Academy
Awards in 2003, including Best Picture. The film was critically lauded, and was the first
musical to win Best Picture since Oliver! in 1968.1 The story is a satire on corruption in the
administration of criminal justice and the concept of the "celebrity criminal".

The original Broadway production opened in 1975 at the 46th Street Theatre and ran for 936
performances until 1977. Bob Fosse choreographed the original production, and his style is
strongly identified with the show. Following a West End debut in 1979 which ran for 600
performances, Chicago was revived on Broadway in 1996, and a year later in the West End.

The Broadway revival holds the record as the longest-running musical revival and the longest-
running American musical in Broadway history. It is the second longest-running show in
Broadway history, behind only The Phantom of the Opera, having played its 7,486th
performance on November 23, 2014, surpassing Cats. The West End revival became the
longest-running American musical in West End history. Chicago has been staged in numerous
productions around the world, and has toured extensively in the United States and United
Kingdom. The 2002 film version of the musical won the Academy Award for Best Picture.

Aims and Objective:

 To study about literary issues in the movie Chicago.
 To identify the art of characterisation to role played by character.
 To find out the legal implication in the movie Chicago.

1
https://en.wikipedia.org/wiki/Chicago_(2002_film)
Hypothesis:
The prime hypothesis of this study can be stated that by and large administration of justice and
the concept of celebrity criminal in the movie based on a true story play in 1926 written by
Maurine Dallas Watkins.

Research Methodology:

This project is based mainly on the non-doctrinal method of research. The segments are
structured and written actively. The writing style is descriptive as well as information
mentioned in this very work is obtained through content available on the internet websites and
personal observation.

INTRO…

Release Year: 2002

Genre: Comedy, Crime, Musical

Director: Rob Marshall

Writers: Bill Condon; Bob Fosse and Fred Ebb (musical); Maurine Dallas Watkins (play)

Stars: Catherine Zeta-Jones, Richard Gere, Renée Zellweger

We could write this entire intro using lyrics from the catchy songs of the musical Chicago:

Why don't we paint the town? In case you shake apart and want a brand new start. We know a
whoopee spot. The system works. We love them all and all of them love us. It was a murder
but not a crime. We betcha you would have done the same!

Okay, it wouldn't make the most sense, but you'd get the gist of both the plot and spirit of this
sordid, sexy, salacious showbiz spectacular:

 Nightlife.
 Dancing that makes Dirty Dancing look like Sterile Dancing.
 Second chances.
 Booze galore.
 And—oh yeah—murder most foul.
Chicago, which jumped from Broadway to jazz up Hollywood at the end of 2002, was the first
movie musical to win a Best Picture Academy Award since 1968 (that would be Oliver!). It
also earned a Best Supporting Actress trophy for Catherine Zeta-Jones who shimmied and
shook as Velma Kelly, a jazz singer in jail for double murder.

Murder has never looked this glamorous.

Joining Velma in jail is Roxie Hart (Renée Zellweger), a wannabe jazz babe who hopes to turn
her infamy into plain famy—if that's a word (it isn't)—using the scandal surrounding her own
crime to catapult herself to stardom.

Chicago is a critique of the public's hunger for true crime and a commentary on how criminals
are often rewarded instead of punished. Yeah, these ladies know how to get away with murder.

Directing these dangerous dames is Rob Marshall. After earning his musical chops
on Chicago, he went on to direct Nine (2009) and Into the Woods (2014). But those movies
came after the big musical wave crested in the mid-2000s. Chicago targeted fans of Broadway
musicals and the audiences that flocked to Moulin Rouge! the year before.

The early 2000s marked an encore for the movie musical, a genre that hadn't been popular in
years. Due to Chicago's popularity, studios greenlit a big-screen adaptation of The Phantom of
the Opera (2004), Dreamgirls (2006), and High School Musical (2006). Chicago had a fairly
modest production budget of $45 million and its $300 million worldwide gross had Miramax
singing.

So grab your G&T (that's ginger ale and Tostitos for any of you Shmoopers under 21), and get
ready to transport yourself back to the clubs of 1920s Chicago. It's a world with a seedy
underbelly so hefty that it's more like a seedy beer gut. It's got red-hot sex appeal, ice-cold
killers, thirsty journalists, thirstier lawyers, and thirstiest would-be singers.

And it really does have all that jazz.

Serial killers like Charles Manson almost get married in jail. (And yet some normal people
remain single…) Terrorist bombers get their picture on the cover of Rolling Stone. And
although creepy Robert Durst from The Jinx isn't going to be singing at a nightclub any time
soon (at least we hope not), there's no denying that hardly anyone knew who the man was
before the hit HBO documentary about the serial murder.
As long as there are murders and famous people (and famous murderers), Chicago is going to
be relevant. While life is valued a smidge more today than it was in the roaring, lawless 1920s,
we still live in a world where murderers become famous and where media live by the adage
that "if it bleeds, it leads."

But don't worry—Chicago ain't a downer. In fact, it has all the "Razzle Dazzle" of lawyer Billy
Flynn, tricking you into singing along and practicing your jazz hands instead of really thinking
about the dark deeds done dirt cheap that pepper this script. The smoke and mirrors is both
super-fun (dance numbers and sexy flapper attire never miss) and totally part of the razor-sharp
satire of this madcap musical.

Because Chicago does exactly the same thing that Chicago lampoons: portrays murder in a
scandalous and titillating manner. With all those saxophone-heavy musical encores, it's entirely
possible to forget that you're watching a movie about fame-crazed women shooting, stabbing,
and poisoning whoever stands in their path to the limelight.

That's the point of this movie: it isn't a court of law that really matters. Sometimes, it's the court
of public opinion. And with enough glitzy show tunes and saucy mini-skirts, Chicago proves
that even cold-blooded murder can look, well, sexy… as long as you're in the audience.

So the next time a true crime crosses your TV screen or your podcast playlist, make sure to see
through the razzle-dazzle and see if it's really worth your attention.2

2
https://www.shmoop.com/chicago-movie/
II. MOVIE SUMMARY AND PLOT

On a hot Chicago night, a jazz singer named Velma Kelly kills her husband and her sister.

The she puts on a solo show at the Onyx Club that first brings the house down... and then brings
the cops to collect her and her murderous, fishnet-stockinged butt.

That fierce, fateful performance is witnessed by Roxie Hart, who has stars in her eyes and
wants to be a jazz singer just like Velma.

Maybe without the murder Or maybe not.

Roxie, who is cheating on her husband with a man named Fred, plugs Fred in a fit of rage after
he insults her talent by saying she has none. He fires off his mouth, she fires a gun. Even trade,
right?

Roxie is thrown in the slammer. The warden is a brassy broad named Matron "Mama" Morton,
who Roxie imagines singing a delicious little ditty about how bribery gets you by in prison. Or
should we say, bribery gets you buy? (No, we shouldn't.)

Her first night alone in her cell, Roxie imagines how the other women got there—in a rousing
rendition of the "Cell Block Tango," starring none other than Velma Kelly. Yep, Velma is
behind these bars, too.

Worried she might hang for murder, Roxie needs to get the best attorney in the biz. Mama
recommends Billy Flynn, a man who has never lost a case for a woman, and who only costs
$5,000. That's about $60,000 in modern day buckaroos.

Roxie's simpering sap of a husband, Amos, ponies up some of the cash, and Billy Flynn decides
to auction off some Roxie memorabilia to make up the difference.

What's that? An auction? But Roxie isn't even famous...who would want her stuff? Well, Billy
manipulates the press—and therefore the public—into seeing Ms. Hart as a victim and broken
woman fighting for her life rather than a cruel murderess.3

The public goes wild, and Roxie becomes an infamous celebrity overnight. Velma watches as
her career potential dissolves through her fingers, so she proposes a deal to Roxie: the two of

3
https://www.shmoop.com/chicago-movie/summary.html
them team up and form a bombastic jazz duo as soon as they get out of jail. Roxie politely
declines. And by politely, we mean she blows a raspberry at Velma and insults her weight.

Classy.

Soon, another murderess shows up in the prison, so Roxie fakes a pregnancy to get the spotlight
back on her. Thankfully she goes to trial quickly, so she doesn't have to fake her pregnancy.
Billy plants a fake diary and accuses the prosecuting attorney of faking the diary, thereby
getting Roxie a not-guilty verdict on a technicality.

If the diary's vocabulary don't fit, you must acquit.

Ready to hit the stage, Roxie's shooting star to fame immediately crashes and burns. Literally
seconds after the paper goes out with Roxie as front-page news, another woman shoots another
man—and Roxie's paper is trampled in the mud.

Roxie leaves Amos and goes on auditions, but she has trouble scraping together a career. With
perfect timing, Velma returns with another proposal that she and Roxie team up... because two
jazz murderesses are better than one. This time, Roxie takes Velma up on it, and she imagines
their swinging jazz show and all the acclaim and praise they will receive: applause, roses, their
names in lights, and all that jazz.

PLOT

In 1924, Roxie Hart watches star Velma Kelly perform ("Overture/All That Jazz") at a Chicago
theater. Wanting stardom for herself, she begins an affair with Fred Casely, who claims to
know the manager. After the show, Velma is arrested for killing her husband Charlie and sister
Veronica, after finding them in bed together.

A month later, Casely admits to Roxie that he has no showbiz connections and just wanted to
sleep with her. Enraged, she shoots him dead. She convinces her husband, Amos, to take the
blame, telling him she killed a burglar in self-defense. As Amos confesses to the detective,
Roxie fantasizes that she is singing a song devoted to her husband ("Funny Honey"). However,
when the detective brings up evidence that Roxie and Casely were having an affair, Amos
recants; Roxie furiously admits what really happened and is arrested. Ambitious District
Attorney Harrison announces he will seek the death penalty.

At Cook County Jail, Roxie is sent to Murderess' Row, under the care of the corrupt Matron
"Mama" Morton ("When You're Good to Mama"). Roxie meets her idol Velma, but her
friendship is rudely rebuffed. She learns the backstories of the other women there, including
Velma ("Cell Block Tango"). On Morton's advice, Roxie engages Velma's lawyer, the brilliant
Billy Flynn ("All I Care About"). Flynn and Roxie manipulate the press, reinventing Roxie's
identity as an originally virtuous woman turned bad by the fast life of the city; she claims she
had the affair with Casely because Amos was always working, but repented and dumped him
for Amos, and Casely jealously attacked her ("We Both Reached for the Gun"). The press
believe the story; praised by the public as a tragic heroine, Roxie becomes an overnight
sensation ("Roxie"). Velma, unhappy at losing the public's attention, tries to convince Roxie to
join her act, replacing the sister that she murdered ("I Can't Do It Alone"), but Roxie, now the
more popular of the two rivals, snubs her just as Velma originally snubbed Roxie.

Meanwhile, Kitty "Go-To-Hell Kitty" Baxter, a wealthy heiress, is arrested for murdering her
husband and his two lovers, and the press and Flynn pay more attention to her. To Velma's
surprise, Roxie quickly steals back the fame by claiming to be pregnant. Amos is ignored by
the press ("Mister Cellophane"), and Flynn, to create more sympathy for Roxie, convinces him
that the child is Casely's, and that he should divorce Roxie in the middle of her predicament.
Roxie over-confidently fires Flynn, believing she can now win on her own. However, when
Katalin Helinszki, a Hungarian woman on Murderess' Row (who happens to be the only inmate
to protest and insist on her own innocence), becomes the first woman in Cook County history
to be executed by hanging, Roxie realizes the gravity of the situation and rehires Flynn.

Roxie's trial begins, and Billy turns it into a media spectacle ("Razzle Dazzle") with the help
of the sensationalist newspaper reporters and radio personality Mary Sunshine. Billy discredits
witnesses, manipulates evidence, and even stages a public reconciliation between Amos and
Roxie when she says the child is his. The trial seems to be going Roxie's way until Velma
appears with Roxie's diary: she reads incriminating entries in exchange for amnesty in her own
case. Billy discredits the diary, implying that Harrison was the one who planted the evidence
("A Tap Dance"). Roxie is acquitted, but her fame is eclipsed moments later when another
woman, who had also shot her own husband, shoots her lawyer just outside the courthouse.
Flynn tells her to accept it, and admits that he tampered with her diary himself, in order to
incriminate the district attorney and also free two clients at once. Amos remains loyal and
excited to be a father, but Roxie cruelly rejects him, revealing that she is not pregnant, and he
finally leaves her.

Roxie does become a vaudeville performer, but is very unsuccessful ("Nowadays"). Velma is
just as unsuccessful, and again approaches Roxie to suggest performing together: a double act
consisting of two murderers. Roxie initially refuses, but later accepts when Velma points out
that they can perform together despite their resentment for each other. The two stage a
spectacular performance that earns them the love of the audience and the press ("Nowadays /
Hot Honey Rag"). The film concludes with Roxie and Velma receiving a standing ovation from
an enthusiastic audience (which includes Flynn, Morton, the jurors and other acquitted
murderesses), and proclaiming that, "We couldn't have done it without you".

III ART OF CHARACTERISATION

Chicago is directed by Rob Marshall

Rob Marshall—no relation to Gary Marshall, Penny Marshall, or Marshall Mathers—

directed Chicago. As a young whippersnapper, he danced in Broadway shows, but after
injuring himself in Cats, he went on to his second (of nine?) lives, in choreography and
directing.

After directing a few TV adaptations of musicals, including Cinderella (1997) with Brandy and
Whitney Houston, Marshall debuted on the silver screen with Chicago. And what a debut it
was, winning the Director Guild of America trophy and being nominated for an Academy
Award (but losing to Roman Polanski).

Marshall went on to direct more musicals—Nine (2009) and Into the Woods (2014)—and non-
musicals—Memoirs of a Geisha (2005) and Pirates of the Caribbean: On Stranger
Tides (2011).

ROXIE (RENÉE ZELLWEGER)

Roxanne "Roxie" Hart: a criminal with heart of gold. Or should we say Hart of gold? Actually,
we'll say neither, because we're not even sure she has a heart. What she does have is an
insatiable drive for fame, and enough wit to know how manipulate people in order to reach the
stardom she thinks she deserves.

Roxie lands in jail because she shoots her male-version-of-a-mistress, Fred Casely. Roxie
shoots him for two reasons: he's a jerk, and she realizes he can't make her famous like he said
she could. Huh: which do you think is the bigger reason she pulled the trigger?

Once Roxie lands in jail, she sees it as a land of opportunity. It's her shot to earn notoriety, and
in Chicago, having your name in the papers is an invaluable form of social currency. So Roxie
works it. And by "it," we mean the system and everyone in it, from rival performer Velma
Kelly, to her gullible husband Amos, to the justice system and the press. And she is a sensation.
She successfully auctions all her belongs to pay her legal fees, and the public loves her. Even
Mama Morton, the prison warden, gets herself a fashionable Roxie 'do. Hey, you can't spell
"peroxide" without "Roxie."

VELMA (CATHERINE ZETA-JONES)

Velma Kelly is a jazz singer with enough attitude to commit double murder and still kill it
on stage minutes after washing the blood from her hands. Not only that, she has the guts and
the talent to turn a duo into a solo and bring the house down. "Don't sweat it, I can do it alone,"
she says to the club owner after killing both her partners—her sister Veronica and her hubby.
(They were, um, keeping it all in the family.)

But prison wears down Velma's resolve. In prison she has to depend on others—paying Mama
to make phone calls and paying Billy to find her innocent at trial. Initially, she still has the
rude, swollen headed attitude of a star too big for her britches… almost literally. When Roxie
innocently asks Velma for advice after washing her delicates, Velma snarls at Roxie, "Keep
your paws off my underwear." Yet she later has the gall to complain no one has class anymore.
Talk about irony.

BILLY (RICHARD GERE)

Billy Flynn is "the silver-tongued prince of the court room." This dude doesn't just think he's
god's gift to women; he practically thinks he is the son of god. He's never lost a case for a
woman (so maybe there is some divine intervention), but as far we can tell the only thing divine
about Billy Flynn is his tap-dancing skills—and we mean tap-dancing literally and figuratively.
His courtroom record has earned him the right to be cocky.

When Roxie first hears of Billy Flynn, she dreams of him as a singing savior, crooning, "I don't
care about expensive things, cashmere coats, diamond rings, don't mean a thing. All I care
about is love." But expensive things are pretty much all he cares about. The women are merely
accessories on his road to fortune. Note in the song "All I Care About Is Love" his car made of
women. He even tells this to Roxie point blank later on: "You mean just one thing to me. You
call me when you got $5,000." She's a price tag, not a woman. Oh, and before you think that
Billy is just sexist, we should tell you that Mr. Flynn is an equal opportunity offender. He treats
men—like Amos—just as poorly as he treats women. (At least he's fair, right?)
Billy has no scruples about forging Roxie's diary to win her a "not guilty" verdict, either. He
doesn't care about men, women, or justice. Take it from Velma Kelly: "Don't forget: Billy
Flynn's number-one client is Billy Flynn."

It's the best piece of advice she gives Roxie, because it's the truth… which is a word we're not
sure is in Billy Flynn's vocabulary. And he doesn't gain appreciation for truth or human rights
over the course of the movie. He's simply $10,000 richer when the credits roll.

MAMA (QUEEN LATIFAH)

Matron Mama Morton is "the keeper of the keys. The countess of the clink. [And] the mistress
of murderers' row." Yup: Mama is a prison warden who doubles as a talent agent.

For one thing, all phone calls have to go through Mama, and she charges a pretty penny for
each ring. "Fifty bucks for a phone call!" Velma says. "You must get a lot of wrong numbers,
Mama." But Velma pays. Everyone pays. In the prison system, prisoners have no choice but to
do what the warden says.

Considering the sapphic double-entendres of Mama's song, "When You're Good to Mama," the
way she flirts with the prisoners ("Aren't you the pretty one?" she says to Roxie) and the way
Velma gives Mama a shoulder rub makes us wonder if money isn't the only thing exchanging
hands here. These lines and scenes recall cheesy women's prison movies like Caged Heat.
Other than helping the girls out—if you can call it "help" when it's really a form of coercion—
and providing some comic relief, Mama doesn't really have a storyline. Her biggest
transformation comes when she gets Roxie's iconic haircut, irritating Velma who would much
rather see Mama be #TeamVelma than #TeamRoxie.

AMOS (JOHN C. REILLY)

Amos Hart is Roxie's poor gullible sadsack of a husband. Depending on when you ask her, he's
either her "funny honey" who "follows 'round like some droopy-eyed pup" or a "scummy,
crummy, dummy hubby of mine."

Considering Roxie is cheating on Amos before the movie begins, we see immediately where
he rates in her eyes. And is he ever a doormat. He initially takes the fall for shooting Fred
Casely in order to protect her. And even after he finds out she's an adulteress, he stands by her
side. He helps pay for her trial and everything. His big song is "Mister Cellophane," in which
he dresses as a hobo clown and complains about how no one notices him. "You can look right
through me, walk right by me, and never know I'm there." The lights go out and slowly erase
him, even though he gives the song his all. But no one in the audience even registers the
performance, or applauds. This is Amos's moment of realization to divorce Roxie: "She
probably won't even notice."

Roxie does notice, though… but only when she needs to win him back to win back the court
of public opinion. She tricks him into thinking she's pregnant with his baby and that's the
reason she shot Fred Casely. But both are lies. He finally leaves her in the end, not that he has
any choice. She doesn't even want him back.

But the question remains, why does he stick by her? How does standing in Roxie's shadow so
long benefit him at all? Billy always calls him "Andy" and even we barely remember who he
is. We definitely don't know what's in it for him, but when Roxie sings, "He loves me so, and
it all suits me fine," we know what's in it for her: total devotion.

Taye Diggs as The Bandleader, a shadowy, mystical master of ceremonies who introduces
each song.

Colm Feore as Martin Harrison, the prosecutor in both Roxie and Velma's court cases.

Lucy Liu as Kitty "Go To Hell Kitty" Baxter, a millionaire heiress who briefly outshines
Velma and Roxie when she kills her husband and his two mistresses.

Dominic West as Fred Casely, Roxie's deceitful lover and murder victim.

Mýa as Mona, a prisoner on Murderess' Row who killed her artist boyfriend after discovering
he had multiple affairs.

IV. LEGAL ISSUES AND IMPLICATION

The play "Chicago" was Maurine Dallas Watkins' retelling of two very public murder trials
that occurred in Chicago in 1924, those of Beulah Annan and Belva Gaertner. Watkins covered
these trials for the Chicago Tribune and wrote the character of Mary Sunshine as self-portrait.

For Belva Gaertner (better known as Velma Kelly), she had a much less glitzy fate. She was
acquitted and went on to have a few run-ins with the law, but ended up living a (semi-)normal
life before dying of natural causes in California in 1965 at age 80.
Although in the case of Beulah Sheriff-Annan (aka Roxie Hart), it was more of a grisly end.
It's true she was acquitted of murdering her lover, thanks to the skills of her highly paid
attorney, who was bankrolled by her stunningly loyal husband. She repaid that debt by publicly
divorcing him after her release. She'd re-marry two more times until her death from tuberculosis
four years later.4

V. CONCLUSION

Fame hungry Roxie Hart dreams of a life on the Vaudville stage, and spends her nights jazzing
it up in the bright lights of Chicago, continually hoping that she'll find her lucky break, and be
shot into 1920's stardom, so able to flee her boring husband Amos. In awe of seductive club
singer Velma Kelly (who is subsequantly arrested for the murder of her husband and sister -
after discovering their affair), Roxie meets Fred Cassely a man who convinces her he can 'make
her showbiz career take off'. However after Roxie has undergone the 'casting couch' treatment,
and Fred has had his wicked way with her, he reveals that he has no more connections in
showbusiness than she does. This is the final straw for Roxie, and her constant anger at rejection
explodes. She shoots Fred Cassely and kills him. Upon discovering her infidelity, Roxie's
husband Amos refuses to take the blame for the murder and Roxie is sent to jail, pending
hanging. In jail she finally meets tabloid darling Velma Kelly, currently receiving huge media
attention for the double murder she committed earlier in the tale. Sharing the clink with Velma,
are a collection of other sly females, all awaiting trial for the murders of their own partners.
Velma is aloof to Roxie, however the prison Warden Mrs Morton offers Roxie the opportunity
of representation by slick Chicago lawyer Billy Flynn. Billy is more a showbiz P. R agent than
a legal lawyer and minipulates the tabloids into thinking Roxie is no more than an innocent
'good time girl' who took the wrong path, than a scheming murderess. The tabloids go crazy
for the new girl on the cell block, and Roxie finally becomes a star. However due to Roxie's
new found fame, Velma is forgotten about. She is forced to approach Roxie with an offer of a
part in her Vaudville act (filling the gap left by her murdered sister), but Roxie turns down her
offer flat, thinking she needs no support in topping the bill. However, just as Velma's star fell,
so does Roxie's, when Go-to-hell Kitty arrives at the jail on a multiple murder charge, the press
forget Roxie and now she and Velma are in the same boat. With one more trick up her sleave

4
https://www.imdb.com/title/tt0299658/trivia
Roxie manages to bring the media attention back onto her, and her day in court arrives. Billy
is now ready to play the ultimate showman!

BIBLIOGRAPHY

REFRENCES

 https://www.imdb.com/title/tt0299658/plotsummary
 https://en.wikipedia.org/wiki/Chicago_(musical)
 https://www.shmoop.com/chicago-movie/flashcards.html
 https://www.nytimes.com/2002/12/27/movies/film-review-chicago-bare-legs-and-all-
makes-it-to-film.html
 https://www.britannica.com/topic/Chicago-film-by-Marshall
 https://www.vulture.com/article/best-chicago-movies.html