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In Chicago, the guilty walk free and live happily ever after while the innocent are afforded no respect or dignity. Meanwhile, no-one arbitrates the whole rotten system. The director, Rob Marshall, the screen editor Bill Condon and the musical score composer Danny Elfman utilise a plethora of filmic techniques to convey the theme of the movie shown above and to make Chicago the roaring success that it is. Elfman and Condon combine admirably to deliver the shot composition, the pleonastic and diegetic sounds that run rampant in the film and finally the songs which form the backbone of the musical work that Chicago is. In the opening sequence, the camera zooms into an eye and right through it into the decadent world of the cabaret of the “Roaring Twenties”. Soon after, a tracking shot is performed to follow the movement of Velma Kelly. This provides the respondent with an insight, albeit a small one, into the life that this enigmatic character leads throughout the initial sections of the film. Being a musical, Chicago is filled with several instances of pleonastic and diegetic sou