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Marshall Law

Rob Marshall had only one rule when it came to adapting Bob Fosse ’s original "Chicago " for Miramax — to break every rule..That meant not having any character sing a song to another one or breaking into song and dance spontaneously,à...

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"I never thought people would question that anyone was doing their own singing or dancing," Marshall says,laughing."I would never double anyone,on a vocal or in an all-feet shot.I come from the theater.There are no pumped-up vocals. Those credits were a fun thing to do,but they are also there to inform people of the truth.I had no idea John C.Reilly could really sing,and that ’s another untraditional thing about the movie. Every time someone opens their mouth to sing, you ’re wondering,‘Can they do it?’"

They can,and the cast worked hard to perfect their Jazz Age talents.

"Richard tap danced for three months in one room and Renée practiced her singing in another rehearsal room,while Catherine worked out with the dancers," he says.."It was put together like a Broadway show.We could take this show on the road now and it would be just as good."

But the best thing about "Chicago " is that it ’s not a love story.Far from it.

"It ’s more about self-love," Marshall explains.. "Which is much more modern.It ’s about the per- versity of celebrity and whom we chose to cele- brate — which in this case,,was female murderers, which were actually rampant in Chicago in the Twenties,which was like the damn of feminism. Women were suddenly drinking and dancing — and killing their boyfriends.It empowered them. And they got famous for it.Maybe we ’re not cele- brating murderers anymore,but Tanya Harding and Monica Lewinsky aren ’t exactly wholesome. There ’s a line in the song Renée sings, ‘Nowadays ’:‘In 50 years,it ’s all gonna change.’ Well,it hasn ’t changed — and it ’s been 82 years since the Twenties.Look at reality television and celebrity boxing.It ’s really fascinating,isn ’t it?"
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