Chicago

Plot

Roxie Hart is a frivolous, two-timing Chicago housewife who maintains a lover on the side while her devoted husband Amos works tirelessly to support her lifestyle. When her wealthy lover, Casper, announces he's leaving her for a society woman, Roxie shoots him dead in a fit of rage. She convinces her gullible husband to take the blame, claiming self-defense against an intruder, but soon confesses when she realizes the publicity could make her famous. Roxie manipulates the media and courts with calculated performances of innocence and vulnerability, becoming a sensation as the 'jazz baby killer' and using her notoriety to escape the death penalty. The film culminates with Roxie's acquittal and immediate abandonment of her husband for a new career as a vaudeville performer, highlighting the corrupting influence of fame and the manipulation of justice through media spectacle.

Historical Background

The 1927 film 'Chicago' emerged during the final peak of the silent film era, just months before 'The Jazz Singer' would revolutionize the industry with sound. The 1920s in America was characterized by unprecedented media fascination with criminal cases, particularly those involving attractive women who defied conventional morality. The real-life cases of Beulah Annan and Belva Gaertner, which inspired the original play, had dominated Chicago headlines and represented a new era of celebrity criminals. This period also saw the rise of tabloid journalism and the beginning of the 24-hour news cycle, with newspapers competing to sensationalize criminal trials. The film's release came during the height of Prohibition, when speakeasies, jazz music, and flapper culture represented a rebellion against traditional values. Hollywood itself was undergoing significant changes, with the studio system solidifying and stars becoming major cultural icons whose personal lives were increasingly scrutinized by the press.

Making Of

The production faced several challenges during filming, including the need to create authentic 1920s Chicago atmosphere on Hollywood sets. Director Frank Urson, though less famous than DeMille, brought a dynamic visual style to the film, using innovative camera movements and lighting techniques to enhance the dramatic scenes. Phyllis Haver underwent a significant transformation for the role, adopting a more sophisticated and glamorous appearance that contrasted with her previous comedic roles. The courtroom scenes were particularly complex to stage, requiring precise choreography of multiple characters to convey the media circus atmosphere. The film's jazz sequences were carefully rehearsed to match the period's dance styles, with Haver performing many of her own dance numbers. The production team worked closely with legal consultants to ensure the courtroom procedures, while dramatized, retained enough authenticity to be believable to contemporary audiences.

Visual Style

The cinematography by James Wong Howe employed innovative techniques for the era, including dynamic camera movements during the dramatic sequences and expressive lighting that emphasized the psychological states of the characters. Howe used soft focus techniques to create a dreamlike quality during Roxie's fantasy sequences and sharp, harsh lighting for the courtroom scenes to emphasize the harsh reality of her situation. The film featured several tracking shots that were technically advanced for silent cinema, particularly in scenes showing the media frenzy outside the courtroom. The visual style contrasted the glamorous, jazz-filled nightlife scenes with the stark reality of the prison sequences, creating a powerful visual narrative that complemented the story's themes.

Innovations

The film employed several technical innovations for its time, including sophisticated editing techniques that created rapid-fire montages to represent media coverage and public reaction. The production used multiple cameras for some scenes, allowing for more dynamic coverage of dramatic moments. The lighting design was particularly advanced, using chiaroscuro effects to emphasize moral ambiguity and psychological tension. The film's special effects, while simple by modern standards, included clever use of superimposition for fantasy sequences and innovative matte work for creating the Chicago cityscape. The sound stage design allowed for complex crowd scenes that effectively conveyed the media circus atmosphere central to the story.

Music

As a silent film, Chicago originally featured no recorded soundtrack but was accompanied by live musical performances in theaters. The score was typically provided by theater orchestras or organists who used cue sheets provided by the studio. These musical accompaniments emphasized the dramatic moments with appropriate popular songs of the era and classical pieces. The film's jazz sequences were particularly enhanced by live musicians who could recreate the authentic jazz-age atmosphere. Modern restorations have sometimes included newly composed scores or compilations of period-appropriate music to recreate the original viewing experience.

Memorable Scenes

• Roxie's dramatic confession scene where she transforms from frightened wife to calculating media star, complete with carefully arranged tears and strategic revelations to maximize newspaper coverage
• The courtroom sequence where Roxie performs for the cameras and jury, using her pregnancy as a prop while secretly manipulating the legal proceedings behind the scenes
• The opening jazz club sequence establishing Roxie's character as a carefree, amoral woman of the 1920s, complete with authentic period dancing and revelry
• The final scene where Roxie, acquitted and famous, abandons her husband for a vaudeville career, demonstrating the complete triumph of celebrity over morality

What Critics Said

Contemporary critics in 1927 praised the film for its bold subject matter and Phyllis Haver's dynamic performance, with Variety noting her 'electrifying screen presence' and the film's 'daring treatment of scandalous material'. The New York Times acknowledged the film's entertainment value while questioning its moral implications. Modern critics, following the film's rediscovery, have recognized it as a surprisingly sophisticated critique of media culture for its time. Film historians have noted its technical achievements within the constraints of silent cinema and its role in establishing the template for later adaptations. The film is now regarded as an important example of late silent cinema that successfully bridged the gap between Victorian melodrama and modern psychological drama.

What Audiences Thought

The 1927 'Chicago' was a commercial success with audiences of its time, who were drawn to its scandalous subject matter and the charismatic performance of Phyllis Haver. Contemporary theater-goers were fascinated by the film's depiction of jazz-age Chicago and its critique of media sensationalism, which resonated with their own experiences of tabloid journalism. The film's combination of crime, romance, and social commentary appealed to the sophisticated urban audiences of the late 1920s. Modern audiences who have seen the restored version often express surprise at its contemporary relevance and the sophistication of its themes. The film's enduring popularity is evidenced by the continued interest in its story through multiple adaptations across different media.

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