john kander wrote the music for chicago the movie.
who wrote the music for chicago the movie?
john kander
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roger ebert of the "chicago sun-times" gave the film three stars out of four and called it "a stylish entertainment, fast-paced, and acted with great energy. i'm not quite sure it makes a lot of sense, but that's the sort of criticism you only make after it's over. during the movie, too much else is happening." arthur d. murphy of "variety" stated that "the film plays very well to an undemanding escapist audience," but "those who have to write about the film are confronted with a gaping hole in the script: apart from a few throwaway references to government agencies and psychic phenomena, there is never, anywhere, a coherent exposition of what all the running and jumping is about. the more one analyzes the picture, the less substantive its story becomes. better not to think too much about this one." vincent canby of "the new york times" wrote, "'the fury' is bigger than 'carrie,' more elaborate, much more expensive and far sillier ... it's also, in fits and starts, the kind of mindless fun that only a horror movie that so seriously pretends to be about the mind can be. mr. de palma seems to have been less interested in the overall movie than in pulling off a couple of spectacular set-pieces, which he does." gene siskel of the "chicago tribune" gave the film one-and-a-half stars out of four and described it as "one of those thrillers where you sit around and wait for the big scenes. and the key word in that sentence is 'wait,' because there is little in 'the fury' to hold your attention in between its three big scenes of extreme violence. that's because the film develops only one character. its story also makes little sense, and for a movie ostensibly about psychic powers, 'the fury' contains precious little magic." kevin thomas of the "los angeles times" wrote that "at any moment 'the fury' could lapse into the ludicrous, but de palma's control is so taut and filled with bravura that he makes plausible the most bizarre—and bloody—psychic manifestations, not to mention much physical derring-do. without indulging in the gratuitous, lingering displays that lead to morbidity, de palma keeps you at seat's edge. he seems to be able to get away with everything." judith martin of "the washington post" called it a "very slick movie" and "a film for people who like to see blood — lots of blood, blood pouring from unpleasantly unlikely places, such as eyeballs — and not for anyone who doesn't." pauline kael of "the new yorker" wrote that "de palma is one of the few directors in the sound era to make a horror film that is so visually compelling that a viewer seems to have entered a mythic night world. inside that world, transfixed, we can hear the faint, distant sound of de palma cackling with pleasure." the music, composed and conducted by john williams and performed by the london symphony orchestra, was also highly praised by kael, who wrote that it "may be as apt and delicately varied a score as any horror movie has ever had."
the fury (1978 film)