Roxie Hart Quotes

I'm here with you. Even when you can't see me, know that I am here with you." said by Garrett from Sacred Secrets

when you live with vampires, coming home smelling like blood is a lot like walking into a Weight Watchers meeting with powdered sugar on your shirt.

seeing the beautiful mating aura that surrounded those two… I was honored to run for my life with them.

Great. Now I knew what his penis looked like. I could never have breakfast with the Paulson Pack again. Eating sausage with a straight face would be impossible.

When life deals you a crap hand in the parent department, the best way to thumb your nose at fate was to end up with an even better family, one you created yourself.

our stops always involved food. I had to watch myself because if I tried to eat all the times she did, I would be involved in one of those rescues where the fire department had to break down the walls to get your lard butt out of your house.

If I got any hotter or any wetter, my underwear was going to slide down my legs in a pile of melted goo.

I wasn’t the only one with magic. His dick looked like it had plenty of magic too.

The film version of Chicago is a milestone in the still-being-written history of film musicals. It resurrected the genre, winning the Oscar for Best Picture, but its long-term impact remains unclear. Rob Marshall, who achieved such success as the co-director of the 1998 stage revival of Cabaret, began his career as a choreographer, and hence was well suited to direct as well as choreograph the dance-focused Chicago film. The screen version is indeed filled with dancing (in a style reminiscent of original choreographer Bob Fosse, with plenty of modern touches) and retains much of the music and the book of the stage version. But Marshall made several bold moves. First, he cast three movie stars – Catherine Zeta-Jones (former vaudeville star turned murderess Velma Kelly), Renée Zellweger (fame-hungry Roxie Hart), and Richard Gere (celebrity lawyer Billy Flynn) – rather than Broadway veterans. Of these, only Zeta-Jones had training as a singer and dancer. Zellweger’s character did not need to be an expert singer or dancer, she simply needed to want to be, and Zellweger’s own Hollywood persona of vulnerability and stardom blended in many critics’ minds with that of Roxie.8 Since the show is about celebrity, casting three Hollywood icons seemed appropriate, even if the show’s cynical tone and violent plotlines do not shed the best light on how stars achieve fame. Marshall’s boldest move, though, was in his conception of the film itself. Virtually every song in the film – with the exception of Amos’s ‘Mr Cellophane’ and a few on-stage numbers like Velma’s ‘All That Jazz’ – takes place inside Roxie’s mind. The heroine escapes from her grim reality by envisioning entire production numbers in her head. Some film critics and theatre scholars found this to be a cheap trick, a cop-out by a director afraid to let his characters burst into song during the course of their normal lives, but other critics – and movie-goers – embraced this technique as one that made the musical palatable for modern audiences not accustomed to musicals. Marshall also chose a rapid-cut editing style, filled with close-ups that never allow the viewer to see a group of dancers from a distance, nor often even an entire dancer’s body. Arms curve, legs extend, but only a few numbers such as ‘Razzle Dazzle’ and ‘Cell Block Tango’ are treated like fully staged group numbers that one can take in as a whole.

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