La folle histoire de Roxie Hart

This very entertaining movie goes a long way to show that Ginger Rogers was much more than a dancing partner for Fred Astaire. She displays wonderful comedic timing and delivery and shines in every scene. And, yes, she does do a little dancing. Adolph Menjou again displays his considerable talent and range as her attorney, though at times he is a bit over the top. George Montgomery was quite a pleasant surprise. The supporting cast is superb. Any viewer who has seen 'Chicago' must see this version of the Roxie Hart story. Granted it is shorter, but this film seems to move at a smarter pace. The dialogue was funnier and, to me, there were fewer slow spots than this century's version. Enjoy!

I just purchased the DVD of "Roxie Hart"- In my opinion it is not a classic film. The direction seems a bit clunky, and it takes a bit to get a feel for the movie.

Once that has been conquered, it is really a great ride, particularly for Ginger Rogers fans. It really is a tour-Der-force for her, and she's able to demonstrate her comic ability. She also has a couple of dance numbers, one of which is a tap piece that would make anyone appreciate her talent. It may be short, but it's great to watch.

Time and countless remakes have taken the bite out of the satire part of the film. The best way to approach it is as a straight comedy.

As such, it works very well. In fact, I was reminded of the "To War" segment of the Marx Brother's Duck Soup when the press corp broke into dancing the Black Bottom (don't get me wrong -- no comedy can cast a shadow on that classic) If you don't like Ginger Rogers, this won't change your mind. But even a casual fan should enjoy this.

The DVD picture and sound are really pristine, with rich black and white and clear audio.

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.

I bought this film because I am a huge fan of the musical "Chicago." Needless to say, I wasn't disappointed! Although the parts of Velma & Matron Mama Morton were built up a lot for the musical, and there are some slight differences (e.g. in Chicago Roxie really DID shoot Fred Casely... here she doesn't... Roxie and Amos never divorced... here they do... Roxie wasn't really pregnant... here she is), the basic plot is still the same, and what a wonderful story this is! Although I must say that I prefer Jerry Orbach (of Law & Order fame) as Billy Flynn, Adolphe Menjou was great in the role! Stunning performance! But the real spark here lies within Ginger Rogers... whose portrayal of Roxie is absolutely rivetting! (However, to me, the definitive Roxie Hart was and always will be the very wonderful Ms. Gwen Verdon.) She brings such sass to the role... you gotta applaud her! A great movie!

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 ****