Dance in Film · 2002
Chicago (2002)
Rob Marshall's Oscar-winning adaptation brings Bob Fosse's signature style — jazz hands, isolated body movements, and dark glamour — back to the big screen.
Chicago is a 2002 dance musical centred on Jazz Dance, Musical Theatre Dance, Tap Dance. For dancers, it's a chance to see these styles performed on screen — the phrasing, partnering, and musicality that the same dances carry onto a real floor.
Jump to the 17 indexed dance sequences ↓
Dance styles featured
Where to watch: Streaming (various)
The dance sequences in Chicago
17 sequences, 14 with a timestamp — what is danced, by whom, and where to find it.
Danced by Catherine Zeta-Jones; Renée Zellweger; Taye Diggs; Onyx Club ensemble · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Velma commanding the club while Roxie mirrors her angles from a table in the audience.
Velma rises alone through the Onyx Club floor, knees turned in and one hand slicing under her brim before the chorus women echo her crouched silhouettes. Marshall cuts Roxie's table-side imitation against Velma's polished attack, so the number turns admiration into the murder that interrupts its final pose.
Stream or rental only — the timestamp is for when you have it playing. 00:02:34 is the Onyx Club presentation and applause cue immediately before the first lyric in the named 1080p Blu-ray subtitle reference. The cue is edition-specific rather than frame-accurate, so confidence is medium.
Danced by Renée Zellweger; John C. Reilly; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Roxie's affectionate ladder pose snapping into disgust when Amos identifies Fred Casely.
Roxie sings from a bare black ladder while Amos's statement unfolds in the police interview, her caresses aimed at an imagined ideal rather than the man protecting her. When Amos recognizes Fred Casely, the ladder and spotlight contract and Zellweger's sweet shoulder rolls sharpen into contempt, letting the same phrase curdle on camera.
Stream or rental only — the timestamp is for when you have it playing. 00:11:57 is Roxie's first sung cue in the named 1080p Blu-ray subtitle reference. Digital masters may drift slightly, so confidence is medium.
Danced by Queen Latifah; Taye Diggs; Cook County Jail female ensemble · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Mama opening her hands to the chorus as the prison's favors become a feathered cabaret transaction.
Mama Morton enters under a fan of warders' flashlights, then rolls her hips across a feathered red platform while the jail's favors trade hands in the real corridor. Queen Latifah's palm-up offers and curling fingers make reciprocity physical: each showgirl response lands like another payment passed back to her.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:17:38 is the stage introduction for Mama Morton's number in the named 1080p Blu-ray subtitle reference; the first lyric follows at 00:17:59. The official Miramax upload supplies legal scene access.
Danced by Catherine Zeta-Jones; Susan Misner; Denise Faye; Deidre Goodwin; Ekaterina Chtchelkanova; Mýa; male partners; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
The six prisoners striking their red-lit confession words before Hunyak rises alone on white fabric.
Six women stand in separate shafts of red light, snapping 'pop, six, squish, uh-uh, Cicero, Lipschitz' before the black room opens into partner tableaux. Velma's account punctures the unison with spread shapes and acrobatic rebounds, while Hunyak's white scarf and aerial suspension isolate the one woman claiming innocence.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:23:47 is the announcer's introduction to the number in the named 1080p Blu-ray subtitle reference; the six-word motif begins at 00:23:57. The official Miramax upload supplies legal scene access.
Danced by Richard Gere; female ensemble; Catherine Zeta-Jones; Renée Zellweger; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Billy emerging from a wall of white feathers while the women spell his name.
Billy appears from a feathered fan in a white tuxedo as the prisoners spell his name, then glides through women whose plumes repeatedly conceal his hands and face. Gere's soft-shoe ease advertises innocence while the real lawyer ignores pleas and names his price, so every gentlemanly sweep is contradicted by the transaction beneath it.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:34:44 is the prisoners' sung spelling of Billy's name, which begins the fantasy-stage passage in the named 1080p Blu-ray subtitle reference. The official Miramax upload supplies legal scene access.
Danced by Richard Gere; Renée Zellweger; Christine Baranski; Colm Feore; press ensemble; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Roxie becoming Billy's ventriloquist dummy as the reporters turn into a marionette chorus.
Billy seats Roxie on his knee, works her jaw with one hand and throws her answers into a semicircle of reporters whose heads and pencils jerk in unison. The fantasy escalates to visible puppet strings, with Mary Sunshine and the press suspended from Billy's counts, making media control literal without losing the clipped ragtime rhythm.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:46:04 is the fantasy-stage introduction to the Press Conference Rag in the named 1080p Blu-ray subtitle reference; the real press scene starts earlier. The official Miramax upload supplies legal scene access.
Danced by Renée Zellweger; male ensemble; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Roxie's white-tuxedoed admirers multiplying with her reflection as she declares herself a star.
Roxie begins in a single spotlight, but each boast summons another white-tuxedoed man who frames her face, lifts her wrist or becomes a living mirror. The men freeze on her spoken claim to stardom while mirrors multiply her image, so Zellweger's small hip shifts and hand flourishes read as an audience she manufactures for herself.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:54:11 is Roxie's first sung cue in the named 1080p Blu-ray subtitle reference. The official Miramax upload supplies legal scene access.
Danced by Catherine Zeta-Jones; Renée Zellweger; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Velma performing two sisters' worth of tricks while Roxie refuses to become the missing partner.
Velma demonstrates both halves of the Kelly Sisters act by firing a kick, racing across the prison furniture and landing an acrobatic phrase with empty space where Veronica should answer. Each 'then she'd' leaves Zeta-Jones posing toward nobody, and Roxie's unimpressed gaze makes the breathless solo feel like an audition collapsing in real time.
Watch this sequence · This sequence is on YouTube as a standalone clip. 00:59:09 is the bandleader's introduction in the named 1080p Blu-ray subtitle reference; Velma begins singing at 00:59:16. The official Miramax upload supplies legal scene access.
Danced by John C. Reilly; Richard Gere; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Amos tipping his hat after the spotlight has made him almost disappear into the black stage.
Amos enters in white gloves and an oversized black suit, then traces his own outline against a black stage that keeps swallowing him between spotlights. Reilly's hesitant soft-shoe, hat tip and final apology remain deliberately small; Billy literally failing to notice him in the office gives every retreating shuffle a narrative bruise.
Watch this sequence · This sequence is on YouTube as a standalone clip. 01:09:40 is Amos's first sung cue in the named 1080p Blu-ray subtitle reference. The official Miramax upload supplies legal scene access.
Danced by Richard Gere; Renée Zellweger; circus ensemble; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Billy balancing above the courtroom circus while the jury becomes his ring-side audience.
Billy walks a tightrope above a circus ring while witnesses, jurors and press become trapeze artists, clowns and riders orbiting his testimony. Gere's cane points and gliding cross-steps keep him calm at the center even as the courtroom cuts grow frantic, embodying his promise that spectacle can hide a weak case.
Stream or rental only — the timestamp is for when you have it playing. 01:19:25 is Billy's first sung cue in the named 1080p Blu-ray subtitle reference and begins the courtroom circus fantasy. Confidence is medium because timing can vary across digital editions.
Danced by Richard Gere; Catherine Zeta-Jones; courtroom ensemble; Taye Diggs · Choreography Rob Marshall; Cynthia Onrubia (Richard Gere's tap steps)
Billy tap-dancing through the diary evidence until the rhythm delivers his countermove.
After Velma's diary testimony lands, the bandleader announces a tap dance and Billy's shoes begin answering each damaging sentence on the courtroom floor. The camera drops to Gere's feet as Cynthia Onrubia's syncopated steps accelerate, turning cross-examination into audible evasion before Billy exposes the prosecution deal.
Stream or rental only — the timestamp is for when you have it playing. 01:30:31 is the bandleader's explicit announcement of Billy's tap dance in the named 1080p Blu-ray subtitle reference. Confidence is medium because the cue is edition-specific.
Danced by Renée Zellweger; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Roxie opening toward an audience that has vanished before the bandleader cuts her off.
Freshly acquitted but already forgotten, Roxie auditions 'Nowadays' to a nearly empty house, opening her arms to seats the camera reveals are not there. Zellweger keeps smiling through the phrase until the bandleader dismisses her; the abandoned spotlight turns the gestures that once drew reporters into proof that celebrity has moved on.
Stream or rental only — the timestamp is for when you have it playing. 01:37:18 is Roxie's first sung cue at her post-trial audition in the named 1080p Blu-ray subtitle reference. Confidence is medium because digital editions can drift.
Danced by Renée Zellweger; Catherine Zeta-Jones; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
Roxie and Velma arriving in matching black costumes as a newly marketable double act.
Roxie and Velma finally enter the Chicago Theatre as equals, matching shoulder angles and side-by-side kicks after spending the film fighting for separate spotlights. Their mirrored black costumes and synchronized turns convert rivalry into a sellable double image, exactly the partnership Velma could not complete alone.
Stream or rental only — the timestamp is for when you have it playing. 01:41:37 is the Chicago Theatre bandleader's introduction in the named 1080p Blu-ray subtitle reference; the duet lyric begins at 01:42:02. Confidence is medium because the timing is tied to this Blu-ray edition.
Danced by Renée Zellweger; Catherine Zeta-Jones; Taye Diggs · Choreography Rob Marshall; John DeLuca (choreographic supervisor)
The women snapping through matched cane accents before producing tommy guns for the final pose.
At the bandleader's command to pick up the pace, the duet breaks from sung poses into fast cane work, heel clicks, Charleston kicks and traveling turns. Marshall holds both women together long enough for the matched accents to register, then caps the act with prop tommy guns and the return of 'All That Jazz.'
Stream or rental only — the timestamp is for when you have it playing. 01:42:58 is the bandleader's instruction to pick up the pace in the named 1080p Blu-ray subtitle reference; the instrumental dance follows immediately. Confidence is medium because the cue is edition-specific.
All That Jazz
Fosse StyleDanced by Catherine Zeta-Jones; Renée Zellweger; ensemble · Choreography Rob Marshall
Hard cuts echo stage accents but full-body views keep the turned-in knees, isolations and chair shapes legible.
Editing and production design move between physical space and a heightened performance world without losing the dancers' bodily through-line. The choreography externalizes thought through scale, repetition and contrast, so the sequence lands as an argument made in movement.
Nowadays / Hot Honey Rag
Broadway TapDanced by Renée Zellweger; Catherine Zeta-Jones · Choreography Rob Marshall
The final two-shot gives the stars nowhere to hide as cane work, kicks and syncopation seal the partnership.
The camera favors sustained, full-body framing, preserving the phrasing and the relationship between the dancers and the floor. The movement is allowed to build through complete musical ideas, so the payoff comes from performance rather than editorial camouflage.
We Both Reached for the Gun
Musical Theatre Character DanceDanced by Richard Gere; Renée Zellweger; press ensemble · Choreography Rob Marshall
Ventriloquist staging turns media manipulation into precise puppet choreography.
Editing and production design move between physical space and a heightened performance world without losing the dancers' bodily through-line. The choreography externalizes thought through scale, repetition and contrast, so the sequence lands as an argument made in movement.
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