Chicago: Every Song In The Movie, Ranked

Based on the real-life murder trials of Beulah Annan and Belva Gaertner, Chicago tells the story of two women who were accused of murder in 1924 in one of the first sensationalized media stories in history. Although the musical premiered on Broadway in 19725, the 2002 film adaptation made it even more popular with audiences, even winning the Oscar for Best Picture.

The show’s extraordinary dance numbers and comparisons to vaudeville throughout make it very unique compared to many other musical movies that exist, and the songs that were made to tell the story are timeless.

12 A Tap Dance

The spectacular lawyer, Billy Flynn (Richard Gere), is in the courtroom “tapping around” the truth with the defendant Velma Kelly (Catherine Zeta-Jones) in her murder trial.

Although the scene is a clever way to represent a traditional court case and how the truth is unraveled, this is not really a true musical song like the others in the film.

11 Funny Honey

It is revealed that Roxie Hart’s (Renee Zellweger) devoted husband, Amos (John C. Reilly) was covering up for her crimes when she murders a man that she was having an affair with.

The song starts as a sweet ballad for Amos, but as he slowly puts the pieces together, the song picks up and turns into a marital battle. It is an entertaining one for viewers, but often forgettable.

10 Razzle Dazzle

Flynn spends the scene of “Razzle Dazzle” prepping his client, Hart, for her big trial. Since this will be a major media frenzy and covered story in the press, Hart needs to continue her act and keep the media entertained during her court hearing.

It is a visually appealing scene since it turns the courtroom into a circus lover’s dream, but it can go on a bit too long for the context of the scene.

9 Nowadays/Hot Honey Rag

The finale shows Hart and Kelly agreeing to put on a duet vaudeville show, just like Kelly always dreamed of. The song becomes more of a dance number with white hats and a simple colored background while the girls show off their talents to the audience members.

They even make fun of their previous convictions with fake guns, shooting at the backdrop to spell out their names in lights.

8 All I Care About

The introductory number of Billy Flynn is a dreamy number that showcases how the sensational lawyer gets the job done and pleases his clients. The song is a true show with backup dancers, costume changes, and dancing, and Flynn takes the viewer to see him as the “ordinary guy” before realizing he is a top-notch lawyer in town.

Gere takes on the iconic role of Flynn pretty easily, making this a great adaptation of the Broadway version of the many people who have sung this before him.

7 I Can’t Do It Alone

This number finds frenemies, Kelly and Hart, discussing their future in vaudeville, with Kelly attempting to convince Hart to join her in a duo act when they get out of jail.

An uninterested Hart listens as Kelly demonstrates how iconic their act could be together, showing her the tricks they could pull off and the stardom they could reach together.

6 Mister Cellophane

The ironic solo by Amos is often skipped over, yet shines a light on Amos’s feelings towards being ignored by everyone, specifically the press.

The viewers get to see a more vulnerable side of a character that comes off as someone unaffected by much, rolling along with his wife’s punches and mistakes. The song is one that is slept on for its excellent performance by Reilly, who many have not seen in a musical previous to this film.

5 We Both Reached For The Gun

“We Both Reached For The Gun” shows the typical press conference of a top news story, with Hart as a puppet and Flynn as her master in comparison.

The creative way that the scene demonstrates how a story can be manipulated for sensationalism and how a client can rehearse what they will say before they see the press like a puppet is quintessential in itself and as a musical number.

4 When You’re Good To Mama

After Hart is arrested and placed in a woman’s county jail, she meets Matron Mama Morton (Queen Latifah) who runs things there.

This character brings an extremely strong solo performance through an upbeat song while still solidifying her status as the top dog at the jail. As the number continues, an important piece of information is told: you can become a star overnight with the help of Mama.

3 Overture/All That Jazz

Even non-musical lovers have heard this song before at least once in their lifetime.

The introduction to the film shows Kelly proving her star status at her solo vaudeville show attended by Hart and sets the tone for what the viewer is about to see in the 1920s set movie. Zeta-Jones’s interpretation of the number along with the choreography is something that will stick in your mind for a very long time.

2 Roxie

Hart dreams of one day being a solo vaudeville performer, and her dreams take her into a montage with her own backup dancers, a room with mirrors, and her name in lights.

This number truly highlights her talents and her passion for becoming a star, and its simple production makes it such a memorable song in the film (on top of a great performance by Zellweger).

1 Cell Block Tango

One of the most iconic dance numbers in musical history, “Cell Block Tango” is a song that will never get old.

From the choreography to the storytelling throughout the verses, the film displays this scene as a sensational point in the show, making it a true show stopper. The female empowered song is also extremely catchy compared to the other numbers in the movie.

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