In Chicago, the guilty walk free and live happily ever after while the innocent are afforded no respect or dignity. Meanwhile, no-one arbitrates the whole rotten system. The director, Rob Marshall, the screen editor Bill Condon and the musical score composer Danny Elfman utilise a plethora of filmic techniques to convey the theme of the movie shown above and to make Chicago the roaring success that it is.
Elfman and Condon combine admirably to deliver the shot composition, the pleonastic and diegetic sounds that run rampant in the film and finally the songs which form the backbone of the musical work that Chicago is.
In the opening sequence, the camera zooms into an eye and right through it into the decadent world of the cabaret of the "Roaring Twenties-. Soon after, a tracking shot is performed to follow the movement of Velma Kelly. This provides the respondent with an insight, albeit a small one, into the life that this enigmatic character leads throughout the initial sections of the film.
Being a musical, Chicago is filled with several instances of pleonastic and diegetic sounds. These mood conveying sounds which are in the environment of the characters are largely composed of songs which are played periodically throughout the film. One such example is the song: "Cell Block Tango- in which half-a-dozen murderesses defiantly flaunt their lack of remorse in their sinful actions. The words: "It was a murder But not a crime."" Are altruistic of these women's' attitude. Another insight provided by the songs in the work, Chicago, is that of the humdrum, tragically downtrodden and mistreated life of Amos Hart in his number "Mr. Cellaphane-. This poignant work achieves its aim of causing an empathic bond between respondent and pious fool by making the lyrics easily identifiable to the respondent.
A large part of the subliminal messages sent to the respondent are by way of lighting through colour symbolism, mise-en-scene and by masterfully weaving intricate hints throughout Chicago.