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Some of the concepts look like things you'd see in an editorial cartoon: a press conference becomes a ventroliquist act and puppet show, a trial is depicted as a literal circus. Director Rob Marshall fuses the two worlds together very well, creating images that compliment each other effectively. In many musicals this wouldn't work, but here it makes sense. 'Chicago' is a musical, and the film uses a gimmick of establishing two worlds: the real Chicago and a surreal fantasy world in the form of a Jazz-Age theater, where the song and dance takes place. Flynn's formula is simple: turn the client into a media darling, spin a tragic tale of the good girl ruined by bad choices, and an aquittal is certain. Both women are represented by Billy Flynn (Richard Gere), who brags he can beat any rap for the right price and is probably what Shakespeare had in mind when he made that crack about killing all the lawyers. Reilly, excellent as the quintessentail doormat) to stand by her afterwards. The veteran is Velma Kelly (Catherine Zeta-Jones), a nightclub singer who did in her husband and sister after finding them in what is usually called 'a compromising position.' The newcomer is Roxie Hart (Renee Zelweiger), a cutie-pie who shot her lover after finding out he was using her, and who expects her husband Amos (John C. The twist is that the art is murder, and the stage is comprised of the papers, the radio, the courthouse, and the all-devouring public eye. She is initailly naive but learns quickly, rising into the blaze of limelight while an older, more experienced rival resents the new face that's stealing the show.

Told one way, the story of 'Chicago' sounds like a showbusiness drama: a young girl dreams of stardom. And yet, the urge to root for the bad guys is somewhat unsettling, for 'Chicago' is a story about people beating the rap by manipulating the public, illiciting their sympathy and playing on their deep-seated need for the bizarre and bloody. Such is the case with 'Chicago'-the film features a large rogue's gallery of criminals, con men, and crooks, yet most of these are surprisingly likeable. Maybe it's a form of catharsis-instead of inflicting violence on other people, we watch someone onscreen do so and cheer them on. They do things we would never condone in our peers, yet still manage to elicit our sympathy. Fictional characters, as a whole, get away with more than is permissible in reality.

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