Roxie Hart

It's a wonderful irony that the non-singing original Roxie Hart, so familiar from the stage show and movie of 'Chicago' was played by one of the top musical stars of the '30s - Ginger Rogers.

And how she sells it - she could so have topped Renee, good as she is, had the musical have been available then.

But the 'straight' play is well worth a look. Adolphe Menjou never disappoints, and gives the tastier Richard Gere a lesson in character acting.

Another in the wonderful, scathing films of my Hollywood at its best, satirising itself and the media, along with 'His Girl Friday', 'The Stand-in', and, in more serious vein, 'Citizen Kane'.

This is surely among Ginger Rogers' more popular vehicles but, ironically, one she almost did not appear in – since, being a Fox production, it was originally intended for their resident star Alice Faye (but the latter became pregnant and had to bail out: she would, in any case, have been wrong for the part). The film, of course, is based on the play "Chicago" – already filmed as a Silent in 1927 and later musicalized, resulting in the surprise Best Picture Oscar winner of 2002. Anyway, Rogers (with rather unbecoming dark hair) is the titular character who confesses to a murder on realizing this will give her the exposure she so desires!; our heroine then secures the services of a notorious shyster lawyer (energetically played by Adolphe Menjou) – since she clearly does not plan to hang for the crime – not to mention constant press coverage of the whole cause celebre (young George Montgomery actually recounts the tale, complete with a nice final twist, in flashback). The latter stages of the film's succinct and briskly-paced 75 minutes (the pared-down script is by Nunnally Johnson) are taken up by the trial – which versatile director Wellman milks for all its comic absurdity (especially given the image-conscious judge and a gullible jury swayed as much by Menjou's various ruses as Rogers' unabashed exploitation of her own sexuality). ROXIE HART has an agreeably polished look to it besides, making for an altogether sparkling entertainment package...which, according to an Italian film magazine of some years ago, was also numbered among Stanley Kubrick's 10 all-time favorite movies!!

There was a real Roxie Hart, and in 1942, she was played by none other than Ginger Rogers with red hair. It's basically the same story as "Chicago" with some changes. What remains the same is that Roxie is a darling of the press, and her trial is a media circus. The difference here is that Roxie didn't shoot anyone, and she and her husband do divorce. Also, the matron doesn't have a song. Roxie's story is told in flashback by a reporter (George Montgomery) who has avid listeners in a coffee shop, particularly the man behind the counter (William Frawley) - who we see as the story continues was actually on the jury! As in "Chicago," Roxie loses the limelight when a fresh news story comes along, but she manages to get the crowd back when she announces she's pregnant.

Ginger is great as Roxie and dances "The Black Bottom" and taps up a storm. She's very sassy and flirtatious, seemingly having a good time. Adolphe Menjou is just right as Billy Flynn, who knows every trick in the book to get Roxie declared not guilty. The film has a wonderful group tap number, too, which is excellent.

All in all, a fun ride, with a great ending. Fans of "Chicago" will find the film interesting and entertaining.

Here is a fast paced and sassy treatment of the same true story that inspired the recent movie musical "Chicago" with Zeta-Jones and Zellweger. I have great admiration for Ginger Rogers, so when I saw Chicago I went straight to the library and borrowed this one.

The remarkable thing is that the makers of Chicago clearly studied this film in great detail. Both movies come from the same book and stage play, so the commonality in dialogue is easily explained, but the sets and costumes and camera angles are virtually identical.

With the exception of one song and dance number in Roxie Hart (which incidentally is NOT in Chicago), and a quick tap dance later on, this is NOT a musical. It stays in the real world and does not constantly segue to fantasy musical versions of the events in Roxie's mind, as Chicago does. Accordingly, it has more straight dialogue, and what witty dialogue it is! Had me laughing start to finish.

This is also a good chance to see some old character actors in their prime, doing what they do best.

Comedy fracas from Maurine Watkins' play "Chicago" (filmed previously in 1927, and remade as a musical in 2002) has gum-snapping, would-be showgirl Roxie Hart, wife to a real schlub in jazz-era Chicago, talked into putting herself at the center of an apartment shooting--because, after all, Chicago courts are sweet on dames. Satire of legal justice (and the theatricality of the law and the press) is pungent and funny without being terribly memorable. Ginger Rogers is very good in the lead, yet winking director William Wellman keeps repeating the same gags over and over; while frantically trying to stay one step ahead of the audience, Wellman tramples all comers--sapping Rogers' good will too soon. A few wonderful stand-outs remain: the jailhouse dance with the reporters, the lively courtroom antics, and the clever final tag. The story is framed in awkward flashback, the sub-plot about moll Two Gun Gertie is introduced and then dropped, and there's a semi-romance that never rises to a boil, but the film still has some big laughs and a lot of energy. **1/2 from ****