In "Chicago" abstract marshall delivers precisely what modern audiences expect of musical enters. His film conforms to the traditions of the stage musical genre which evolved over the last sixer decades, to become adapted for film. The show-stopping musical numbers are utilise to draw out the cynical but
fairly accurate thematic (or " horizon" for Aristotle) comment upon the personality of modern celebrity, and the curious relationship which exist between the media, the audience and the famous (or infamous). The characters that are thrust into the spotlight are effectual mirrors of contemporary figures who have gained public notoriety from acts of evil.
Aristotle's element of vocabulary makes its presence felt here through the 1920's style oral communication of criminal street-rats from Chicago. The language style effectively locates the audience in the seedy world of the historical jazz town, whilst inferring that we're looking at a place and society comparable with modern-day Hollywood.
Marshall pokes fun at the propensity of consumers of entertainment to make idols of the most undeserving, unlikely and uninteresting people because of our unquenchable thirst for celebrity. This "thought" element is conveyed through the use of the others in Aristotle's hierarchy. To drive the manoeuver home, Marshall substitutes us (the viewers) in the world of the film with intelligence agency hungry media agents (at the press conference scene featuring "We Both Reached for the hit man") and as public gallery observers in the court elbow room scene (featuring "Razzle Dazzle").
Rob Marshall has created a unique film which does not fly in the nervus of traditional musical productions in style. But there is an originality in "Chicago" which transcends many other films of this genre. Perhaps the interplay between the plot, character
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