You know me well enough by now to realise I’m not averse to honouring some of the more maligned performances if they work for me. It is (as they say) what it is, and when I like it – I like it. Still, it’s not like I think they’re bad otherwise I wouldn’t like them. Still, there are quite a few performances I like that haven’t caught on, but this is one of those that’s a head scratcher for me. I never can understand what’s not to like about this performance since it’s so obviously good. Isn’t it?
#12 Catherine Zeta Jones in Chicago (2002)
I don’t know what it is about the Supporting Actress Oscar but it seems to attract bitchy women; well not bitchy but definitely opinionated. Since Jolie’s psychotic patient we’ve had strong willed artists, strong willed drifters, strong willed actresses, strong willed human rights activists. With the exception of Jennifer Connelly – it’s been a long line of strong willed ladies and it’s not difficult to see the attraction. Who doesn’t love seeing an actress sink her teeth into a nice, juicy diva-esque role? The thing about these roles is that as much as you need to ascertain the almost theatrical behaviour of your character you need to fill in the edges and make the character ring true – and Catherine does.
It begins with “All That Jazz” – acting in musicals is not about being a great singer. I’ll attest that, even if some will disagree, but having a good voice is not a throwaway either and Catherine has some amazing chops. The things is, unlike a recent singing Supporting Actress winner Catherine doesn’t sing, then act, and then sing again; she does it in tandem: which is why the performance works. Marshall and Condon do really take a gamble with Chicago because within twenty minutes so much goes down that it’s easy to miss it. We know Velma has murdered someone – the blood on her hands…we can fill in the blanks – and when the police enter the club during her performance I love the awareness on Catherine’s face as she notices them, which immediately segues into the line “No, I’m no one’s wife but oh I love my life”. Sure, it’s part of the song, but that look on Catherine’s face is an excellent acting moments. Right there, she’s filling in the blanks and we’re not even realising it yet. She still has much heavy lifting to do.
Heavy lifting like “Cell Block Tango”: a number that depends on her candour and her ability to showcase Velma’s ego and talents. I remember while listening to the DVD commentary Marshall remarked on how in touch with the character Catherine was. The moment in "Cell Block Tango" as she’s telling her story and she poses for the camera as the light bulb flashes. It’s almost an offhand moment, and also an improvised one. Still, it’s completely Velma: still the star even while playing the victim. She’s so caught up in her own game she’s unable to draw the line between the role and herself. It’s her crowning glory and it’s her crutch, and Catherine knows this. As despicable as Roxie is, can you really trust anything that Velma tells you? She’s a savvier diva than Ms. Hart, which is what makes her so dangerous.
I like Chicago a whole lot, you already know that. I’ve probably said it before, but my favourite moment in the film is probably the one that should work the least. As a scene being read “I Can’t Do It Alone” doesn’t really work with the film. It’s more performance than plot driven and could be excised without a glitch – just have the lines spoken – but when Catherine reaches that zenith of performance it’s all outstanding. It’s my favourite part of the film. The raw emotion packed into this number, the oozing sexuality mixed with the heightened desperation is pathetic and scintillating all at once, and it never feels phoned it. She’s never just singing, or just dancing, or even performing. She is being Velma Kelly. As she flutters through the courtroom, performs the (unfortunately) deleted Class and that final spoken moment, her reaction to the torn stocking – another moment that’s really not that *big*, but that’s the thing that makes me wonder how she’s become so underappreciated. She sells us the big moments, boy does she sell them. But when she needs to get subtle, when she needs to sell the want with her eyes Catherine delivers. It’s not just a good musical performance – or a good singing performance. This is a brilliant acting foray. Catherine Zeta Jones IS Velma Kelly. Say what you want, but I’m a believer.
But have at it? How does she measure up in your opinion? Excellent or passable?
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