‘Two Weeks Notice’ hits the mark

Evan Marmol

In the sleeper hit “Two Weeks Notice,” Hugh Grant, with his

signature British droll wit, portrays a pretentious philandering twit

with nothing in mind but decadence and the pursuit of pleasure.

His profession and business practices, equally dubious, require

constant legal representation. One of his associates demands that he

hire an attorney with a prestigious degree and not the other

desirable attributes that he is accustomed to.

Enter Sandra Bullock, the Harvard-educated tree-hugging liberal

with the potential to disarm all of Grant’s urbane charm and the

forthrightness to sift through his megalomaniac facade. In a

confusing “Roshomon-like” twist, he hires her and chaos ensues.

The characters are well developed without forcing the audience to

learn every sordid detail of their lives or troubling them with

understanding every intricate detail of their daily interactions.

What is emphasized is the unique character interplay and a tone of

levity and sexual tension.

At first the movie appears to fit the mold of “Pygmalion,” but it

quickly transcends and triumphs over that antiquated insult. Instead,

the film displays how love can teach two people to better themselves.

Any movie with a sardonic Hugh Grant tormenting a hapless and

comely Sandra Bullock to the point of hair-pulling insanity and

ulcers is worth attention. This film is enchanting from beginning to

end and does not allow you to spare any emotion.

It’s not quite hilarious enough to be a comedy, and there’s no

sobbing, so it is not really a love story. This film is quite

unclassifiable. In the immortal words of Goldilocks, I must say that

it was “just right!”

* EVAN MARMOL is a Laguna resident. He graduated from UC Irvine

with a degree in psychology and social behavior.

Move to Hollywood suits ‘Chicago’

The movie business makes few musicals, and for good reasons: They

are usually mediocre, and they do not make much money.

The last time Hollywood produced one worth watching was in 1972,

when it gave us “Cabaret,” a multi-Oscar winner. That film was

directed by Bob Fosse, who also directed and choreographed the

original Broadway version of “Chicago.” Fosse died 15 years ago, but

his stage musical lives on in the film “Chicago,” which is arguably

the most entertaining film to debut in 2002.

“Chicago” is set in that tough city in the 1920s, the time of

gangsters, prohibition, political corruption and jazz. The movie

begins with the story of Velma Kelley, played by Catherine

Zeta-Jones, a singer and dancer who, when she finds her husband and

sister in flagrante delicto, kills them both. In a city where tabloid

journalism reigns, Velma becomes a celebrity while she awaits her

trial for murder.

Soon after, Roxie Hart, a wannabe singer and dancer, portrayed by

Renee Zellweger, shoots her lying lover. Roxie joins Velma in jail

when Roxie’s husband declines to take the rap for her.

All that stands between Roxie and the gallows is the best crooked

lawyer in town, Billy Flynn, played by Richard Gere. Flynn represents

Velma, but for a price he is persuaded to take on Roxie’s case, too.

“Chicago” is about murder, corruption, greed, ambition, celebrity,

cheating, lying, singing and dancing.

The drama is played out with cynical humor and a steady flow of

musical numbers. The delightful, jazz-inspired songs are the creation

of composer John Kander and lyricist Fred Webb, the team that had an

earlier success creating the music of “Cabaret.”

The big surprise of this film for me was the performances.

Zeta-Jones and Zellweger are superb in their singing and dancing

roles. Gere is their match as an actor and singer, although his legs

are called on only to perform a crucial tap-dance.

Queen Latifah gives an earthy performance as jail matron Mamma

Morton, and John C. Reilly stands out as Amos Hart, Roxie’s betrayed

husband. Reilly delivers a rendition of the song “Mr. Cellophane”

that is comic and poignant.

A couple of years ago, I had the good fortune to see “Chicago” on

Broadway, and the experience was among the most enjoyable evenings I

have ever spent in a theater. I wondered if it would be possible to

transfer that experience from a live stage to a projection screen.

This film is not the stage version, but as an adaptation, it is

true to that vision. “Chicago” is a decadent delight that will have

you humming at least one of its many great tunes as you leave the

theater.

* DENNIS PISZKIEWICZ is a Laguna Beach resident.