The Musical is BACK with Oscars

A sizzling, dazzling finish to a remarkable run for an entertaining, energetic, fenzied, feverish musical display with 2002's Best Picture Oscar! I can't imagine, though, that Moulin Rouge and Chicago represents a permanent or substantial turn around for the musical in films. The special effects, the little cinematic tricks of the new age will be harder to come by in future musical productions, but Chicago hit the market at just the right time, right in the middle of war and a post-script, sequel to Moulin Rouge, capping a wonderful past two years with different, but wonderful visions and blending, adaptations of musicals into movie forms.

I saw Chicago yet again yesterday.

Guess what? I noticed that two brief shots were added.

Two sweeping camera shots seem to have been spliced back into the film. Well, my keen eyes didn't miss it. They appear towards the end when Roxie Hart is aquitted. The camera flies forward over the courtroom in a celebratory moment. I wonder how many people noticed? It didn't add or take anything away from the movie, so I'm curious why Miramax did it.