Critic's Grade: B

Frank's film tip: One will feel like jazzing it up with Ron Marshall's caustically spry and delightful musical narrative CHICAGO

True to form, director Rob Marshall does echo the long-running stage hit's mantra "Give ?em the old razzle-dazzle". In the rousing and rhythmically spry Chicago, Marshall delivers a finger-snapping gem that radiates jubilance and promotes its lyrical spirit. Based on the popular mainstay Broadway musical, Chicago is "all that jazz" and much more. The film features surging performances that are perky and profound. Plus, the movie's visual feel is refreshingly nostalgic and keenly robust. There are not many substantive layers to Chicago as a complete in-depth showcase but its bounciness and endless energy will have audiences giddy with delight.

Marshall does wonders to bring a distinctive, glowing spark to this big screen version of director-choreographer Bob Fosse's exuberant 1975 stage musical that bathed incessantly in its own stylish aura. Bill Condon's (Gods and Monsters) punchy screenplay keeps the movie honest and cynically intriguing with entertaining song and dance, noteworthy foul play amongst the mischievous players and an irreverent attitude that brings a playful decadence to the proceedings at hand.

Renee Zellweger, who's becoming an incredible chameleon of an actress thanks to resilient work such as her previous remarkable turn in Bridget Jones's Diary, plays the beleaguered opportunist Roxie Hart. Roxie is a Prohibition-era chorus girl looking for a big break into showbiz and will do almost anything to secure that dream of making it big. In fact, the married entertainer engages in an affair with a shady character that unwisely promises her the moon and the stars for enhancing her ambitious career. When Roxie finally catches on that her lover is nothing but a fraud, she kills him.

In the meanwhile, Roxie's hapless and hopeless husband Amos (John C. Reilly) is gullible enough to want to unknowingly take the fall for his adulterous wife's misguided actions. Naturally Amos isn't aware of Roxie's cheating exploits at first glance. But once he learns of her infidelities with the deceased creep, he alertly informs the cops thus landing the scheming Roxie in jail.

Accompanying Roxie in the slammer is Velma Kelley (Catherine Zeta-Jones), a nightclub performer who hastily eliminated both her cheating hubby and sister whom were having a torrid affair. Then along comes self-absorbed and ambulance-chasing lawyer Billy Flynn (Richard Gere), an expert in handling excitable "love-and-loss" cases that aptly involve personalities such as Roxie and Velma. Flynn knows all the dubious ropes in managing to spring his clients from lingering incarceration.

With the help of the Cook County jail warden "Mama" Morton (Queen Latifah), Roxie gets the adequate legal attention from the crafty Flynn not to mention supportive vibes from reporter Mary Sunshine (played by Emmy-winning actress Christine Baranski). This whole ordeal somehow manages to hurl Roxie into the spotlight making her the toast of the town through sympathetic-induced celebrity happenstance. But as all this sudden transformation is beneficial to Roxie, poor Velma feels left out and neglected by the fuss put upon the former jailhouse diva. But it isn't long before Roxie is tossed aside for another sensational case that threatens her status as the current media darling. Feeling desperate, Roxie proclaims that she's pregnant in an attempt to stretch her fleeting fame.

Soon all this conniving and chaos leads to the climatic courtroom with the unctuous antics of Flynn's lethal legal tactics being put to the test in defense of shrewd little firecracker Roxie Hart who's just as skilled at playing the devious game as any of the pathetic participants that cross her path. And more importantly, a vindictive Velma is lurking in the background trying to stir things up a bit in an effort to seek revenge on being lost in the shuffle. And when another damsel in distress (Lucy Liu) enters the mix in terms of stealing the notoriety thunder, things really come undone for all involved.

Chicago is a wiry satire about the protocol in attaining celebrity status and how this concept is utilized as a preferred method to entitlement in getting away with society's advantages. And in many ways, the film does a stand-up job by outrageously commenting on how our obsession with the limelight can shine so brightly due to the preoccupation with the perks that celebrity allows in our fickle pop culture sensibilities. Although Marshall's storytelling devices are situated around toe-tapping trivialities, he effectively gives the audience insight into his protagonists' psyche for romancing the thought of fame and fortune whether it is funneled through the tattered moral compass of cutthroat show business or the hollow halls of public perception via the flawed justice system.

What's so crafty about Chicago is the manner in which the movie takes these despicable characters and their selfish agendas and dresses everything up in the seemingly innocent form of hoofing hilarity. Being in the spotlight can be deceptively dark and costly. Yet Marshall cleverly reminds us of this fact based on the hoops he has his prima donna performers jump through with raucous flair. No, one wouldn't dare to say that Chicago is the most ribald and revealing showcase that caters to the notion of skewering celebrity and its many facets. But still, this crooning vehicle crackles with a spunky beat that stays in tune with its wacky momentum.

If anything, Chicago is a fluffy session of movement and sound that generates a catchy verve. The film's choreography and feisty musical score is absolutely infectious. The performances are frothy and quite detailed given the talent assembled to deliver the goods of dancing, singing and just having a grand ole time. If anyone had any doubt about parlaying a celebrated live stage show and vibrantly transferring it to the wide screen, then take notice because it can be done effectively based upon Marshall's imaginative drive. From the colorful and elaborate set-pieces to the animated costume designs, this frenzied fable sings out loud with caustic wit.

Clearly, Chicago is meant to be an off-kilter celebration of sorts. Zesty, triumphant, sexy and full of flavor, this slaphappy spectacle certainly does the Windy City proud in its namesake. Overall, this is a jousting and joyful experience at the movies that's sure to rejuvenate the neglected musical genre.

Frank rates this film: *** stars (out of 4 stars)

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