Performance Review: Catherine Zeta-Jones in Chicago (2002)

When Moulin Rouge! was expected to bring back that old classical, Hollywood musical in 2001 and didn't, the upcoming screen version of Chicago was an anticipated event. It won the Academy's top prize of Best Picture, but also re-invented the genere and set the bar pretty high for musical's made in Hollywood. This brilliant film garnered a remarkable thirteen nominations, and six wins. One of those six wins was for Best Supporting Actress, and the winner was none other than...

...Catherine Zeta-Jones in Chicago (2002)

Catherine Zeta-Jones stars as Velma Kelly, a sultry jazz baby turned murderess during the 1920's.

Velma is one half of a two part act ("The Kelly Sisters") in which she and her sister Veronica preform together. The problem is that after catching her sis in the sack with her man, Velma gets a little trigger happy and finishes them off in cold blood. This is never shown but we do see the aftermath as in the opening scene Velma's backstage washing the blood off her hands and preparing for her now solo act.

Having just committed a double murder, Velma brushes it off and gives the film its first big show-stopper, "...And All That Jazz". The extravagent Velma is an idol in the eyes of Roxie Hart (Renee' Zellweger, giving a brilliantly luminous performance), a wannabe vaudevillian who is in total awe of what Kelly has; fame, money, and talent. Just after her number is over, Velma is thrown into the slammer for murder, and things could not be better.

In prison Velma is treated like royalty; she rules over all the other inamates, is in with the matron of murderess' row, Mama (a sassy Queen Latifah), and is still in the media's spotlight. She ain't famous, she's infamous. Jones gets this side of Velma, her need for attention and control even when she's behind bars.

But what Jones misses completley in the part is finding a way to weave her character into the rest of her surroundings. During the scenes where Roxie steals the spotlight, Jones makes Velma even more disconnected from the proceedings when we are supposed to really connect to the character. Never bringing to life Velma's flaws, fears, and insecurities. It's as if Jones doesn't know which way to steer her characterization - she should do this or that - and let me tell you, she steers in the wrong way and crashes hard. On top of that she lacks the gusto, zest and pizzaz that Latifah and Zellweger have to really make something out of the role.

Sure, Jones' footwork and vocals are top notch and she's a real firecracker when preforming, but that doesn't equal a great performance. Many believe that Catherine's show-stopping numbers are, by nature, enough for her run off with the golden boy. Twister thinks not. Her focus seemed to be on her big dance numbers, instead of actually crafting a character. So as a result Jones' missfire of a performance, (which is a blank misreading of the character) leaves a unsatisfying, bland aftertaste.

In retrospect, it is no surprise that Jones walked away with the Oscar. The film's success and her own personal ties to important people had alot do with her name being checked off on the ballot. But considering the strength of the other nominees in 2002 (Streep, Moore...c'mon) , you would think that Oscar could have thought twice (for once). Chicago is a flawed, but enjoyable and eye-popping film, and is able to stay afloat even when it's second biggest name star is seems lost. Now that's impressive!