Rob Marshall's adaptation of Fosse's musical remains faithful to its Broadway roots, honoring Fosse's brand of dance, staging and lighting concepts, and its jaded message, to avoid making the film merely seem a filmed version of the stage production, which can seem very awkward on screen, Marshall combines live action with the stage numbers The musical sequences are portrayed as fantasy sequences with different lighting and costumes, and the film goes back and forth between the two, which keeps the musical numbers from seeming out-of-place in the plot, which is always a danger in the modern musical film. The dance numbers, particularly the opening sequence with "All That Jazz" and the "Cell-Block Tango," are fabulous, although, unfortunately there is too little dance in the latter sequences. The performers, some not particularly known for musical roles, seem at home here. Queen Latifah, who of course comes from a musical background, is good as Mama Morton, allowing her to show off her big, booming voice. Catherine Zeta-Jones is great as the icy Velma Kelly and John C. Reilly gives a touching performance, and delivers one of the film's best songs on "Mr. Cellophane," as Roxie Hart's betrayed and exploited husband Amos.
However, the real surprises here are Zellweger and Gere. Zellweger takes advantage of a great opportunity to break away from her usual sweet, endearing girl-next-door parts by taking on the role of Roxie Hart, who is a brash, opportunistic, and unlikable. Zellweger, who has claimed to have no formal dance or vocal training, also does a decent job at the singing and dancing parts. While her dancing and vocals are not quite of the same caliber as those of her co-star, Catherine Zeta-Jones or the female supporting players including Queen Latifah, what Zellweger does works perfectly for her character. Gere also makes an unusual departure from the norm with excellent results. While it raised some eyebrows to think of Richard Gere in a musical, having seen the Broadway version a couple of years ago, Gere fits well as Billy Flynn, and handles his musical numbers with ease. What is even better is that while Gere has often appeared somewhat stiff in many of his film roles, his portrayal of this suave character allows him to have some fun, and the notable change is refreshing.
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