Chicago

"Those who forget History are condemned to repeat it" is the famous quote and perhaps that explains the current movie climate where remakes predominate. As we continue to evolve into a culture of short term gratification and long term memory loss, it's important to rediscover forgotten parts of our cinematic history especially when it's presented in such a way as this. David Shepard and Flicker Alley are to be congratulated yet again for their fine work in bringing to us another film previously thought to be lost.

For those of you not familiar with the award winning Broadway musical or 2002 film version, CHICAGO is based on a 1926 play which tells the story of the trial of Roxie Hart, an adulterous wife who shot her lover after he tried to ditch her. The play isn't about the verdict but how the trial is used to promote almost everyone involved except the long suffering husband. Although played for all its melodramatic possibilities with elements of humor, it sadly shows us that little has changed in 80 years when it comes to sensational journalism.

The film rights were quickly snapped up by Cecil B. De Mille who had his own movie company at this time. It's essentially his movie all the way but he allowed Frank Urson (an assistant director) to take credit because of De Mille's involvement with THE KING OF KINGS which was already in theaters. Phyllis Haver gives a wonderfully manic and comic performance as Roxie Hart while Victor Varconi excels as the betrayed husband, Amos Hart and yes that's gravelly voiced Eugene Pallette minus his voice and later girth as the murdered lover. The print looks as if it were processed yesterday and Rodney Sauer's score is up to his usual fine standards. With the usual Flicker Alley extras, CHICAGO is a must for silent film fans and is an ideal introduction to those who are not...For more reviews visit The Capsule Critic.

Phyllis Haver stars here as Roxie Hart in a story based on a hit Broadway play from 1927. Just about everyone is familiar with the story. Roxie plugs her lover and tries to pin it on her sap of a husband Amos. But while in jail she becomes a tabloid queen, especially after lawyer Billy Flynn enters the picture. He's an expert on law and headlines, especially after he gets his $5,000.

Haver, who looks a lot like Laura La Plante here) is terrific as the hard-boiled Roxie as she learns the ropes in prison and in the court room. Haver never misses a comic or ironic beat. Victor Varconi plays the hapless Amos, but he has a whole subplot here that's not in the famous musical versions of this play. Billy is played by Robert Edeson, the matron is played by May Robson, and Casley is played by Eugene Palette. There is no Velma Kelly in this story but Roxie's rival in prison, who is unnamed, is played by Julia Faye.

The film was produced by Cecil B. DeMille and although Frank Urson gets credit for direction, many think the film was directed by DeMille.

This new DVD release by Flicker Alley is a gorgeous print with solid music by the Mont Alto Orchestra. The sound effects are amusing.

I read the Maureen Watkins play after seeing "Chicago" (2002) and "Roxie Hart" (1941). I was definitely looking forward to seeing this long lost 1927 version. While, I did enjoy many things, there were also some disappointments.

The good things are the little comic bits that are added which the play and other two movies do not have. These include Roxie putting black stockings on her door to pretend that someone inside has died to trick a repo-man and putting her husband's tie around her neck to show what the hangman's noose will look like. The rehearsal of her "looks" before the jury is hilarious, so are the three gum chewing young women spellbound by the trial as if watching a movie. These little bits really brighten the movie.

Unfortunately, probably because conservative, religious nut Cecil B. DeMille was the producer, the sharp satire of the play and the two other movies is sharply curtailed. What we get instead is a quite melodramatic subplot which takes up almost one quarter of the film. It involves the husband and his stealing money from the lawyer Flynn and his relationship with a housekeeper. This subplot is dull and undercuts the sense of sexiness and gallows humor that the play and the other movies thrive on.

While a good film and certainly worth seeing, it doesn't match the greatness of the later films or earlier play. The DVD does have some nice extras, including a well done documentary short looking at the real trial, Maureen Watkins original newspaper articles, a 1950 documentary on the 1920's and "The Flapper Story" a delightful 1985 documentary.

Phyllis Haver plays the sexy but fickle and material-minded wife of shopworker Victor Varconi, who seems a nice but dullish fellow. While at he's at work, Haver invites 'sugar-daddy' Eugene Pallette upstairs, not realizing that he is intending to dump her, owing to her extravagance. When Pallette refuses to cough up anymore cash, she shoots and kills him, leading to a spectacular and amusing trial.

Along the way, we have a wonderful prison scene with inmates being presided over by matron May Robson, a vindictive D. A. splendidly played by Warner Richmond, and a crooked lawyer in the form of Robert Edeson. Further amusement is provided when Varconi has scraped up $2,500 (rather a lot for a chap who works in a tobacco shop) for the defense and has to cough up the same again. He then decides to rob the fellow to get the remainder, finding it is in fact crooked money as well, having been delivered by thug Walter Long in an all-too-brief cameo, before the climactic trial. Oh, and the nice, pretty cleaning lady (Virginia Bradford) has a yen for Varconi...

The direction of CHICAGO is credited to Frank Urson, who was unknown to me, possibly due to his career being cut short by his death the following year. Other notable credits are Peverell Marley, Mitchell Leisen and Leonore Coffee, and the whole thing is very handsomely presented, with a nice score from Rodney Sauer.

CHICAGO (1927) is the story of Roxie Hart (Phyllis Haver), a bored young housewife who kills her lover during an argument. She convinces her doting husband Amos (Victor Varconi) that she killed the man in self- defense. Amos goes to great lengths to save her from the noose, hiring oily lawyer William Flynn (Robert Edeson). Meanwhile, a slick reporter (T Roy Barnes) plays up her beauty and "innocence", making her into a nationwide celebrity. Direction is credited to Frank Urson, but in actuality Cecil B DeMille directed the majority of the film.

CHICAGO is an adaptation of a play by author Maurine Watkins, which was inspired by Watkins' own articles about the trial of real-life murderess Beulah Annan. The film is tight and well crafted. In particular, it's a sharp and merciless satire on unearned celebrity, societal double standards, and the hedonistic 1920s lifestyle. There are many laugh-out- loud hilarious scenes, including a scene where Flynn coaches Roxie on how to appear during his closing statement to the jury, and a scene of the photographer posing Roxie shortly after the murder takes place. Many scenes use exaggeration to make points about media sensationalism and lawyers' appeals to emotion, rather than truth, in order to exonerate their guilty clients. The humor is balanced by the dramatic portrayal of Amos' efforts to save his undeserving wife from the noose. Amos is the moral center of the movie, a decent man who is so in love with his wife that he is willing to break the law to save her, yet struggles with her murderous deed and self-centered, callous attitude.

The acting in CHICAGO is nothing less than excellent. Phyllis Haver makes a great lead, portraying the many facets of Roxie Hart's character skillfully. She shows equal comedic and dramatic ability. One could argue that Roxie is a sociopath, able to turn on the charm and the waterworks at will in order to get her way, but fundamentally lacking a conscience. Haver's portrayal of Roxie is perfect. I had never heard of Victor Varconi before, but he played Amos with great skill, sensitivity and restraint, turning in a very believable performance. The rest of the cast does fine work as well.

Visually, CHICAGO is top-notch, with skillful editing, fluid camera work, and meaningful use of visual cues. One instance of this is a shot of a crowd walking heedlessly on a newspaper with Roxie on the front page once her 15 minutes of fame are up. The visual style of the film points the way forward to the classic Hollywood style of the 1930s and 40s. This film came out the same year as landmark movies like SUNRISE, WINGS, and METROPOLIS, and even though it is not as celebrated as those visual marvels, in its way it's just as accomplished.

SUMMARY: CHICAGO is a skillful blend of satire and drama that boasts a razor-sharp script, excellent performances, and highly accomplished direction. The message of the movie has just as much resonance now as it did in its time. A classic! SCORE: 10/10.