Honestly, if you were watching movies back in 2002, you probably remember the absolute chokehold Chicago had on the culture. It was everywhere. But the one thing nobody really expected was Richard Gere—the guy from Pretty Woman—suddenly turning into a Broadway-caliber hoofing machine.
When you think about Richard Gere Chicago Razzle Dazzle, you’re thinking about that specific moment in the courtroom where the movie stops being a legal drama and turns into a literal circus. It's the peak of the film’s cynicism. It’s also the moment Gere proved he wasn't just coasting on his "silver fox" looks.
The guy actually learned to tap dance in three months. Just three. For a man in his early 50s who hadn't done a musical in decades, that’s kind of insane.
The Story Behind the Tap Shoes
Director Rob Marshall was a stage veteran, and he knew he couldn't just "fake" the energy of a Bob Fosse-inspired number. He needed a Billy Flynn who could radiate that "I’m lying to your face and you’re loving it" energy.
Gere wasn't the first choice. You’ve probably heard the rumors—John Travolta was famously offered the role and turned it down multiple times. Looking back, Travolta might have been too "musical theater." Gere brought this weird, oily charm to Billy Flynn that made the Richard Gere Chicago Razzle Dazzle number feel dangerous.
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The preparation was brutal.
- Gere trained for three months to get the footwork down.
- He practiced for hours daily until his shoes were basically falling apart.
- The actual filming of the tap sequence took only half a day.
- Most of the taps you hear in the final cut were actually recorded by Gere, though standard movie magic (foley) always adds a little extra "clack."
There’s a legendary bit of trivia that Gere actually did the routine so many times during filming that he ended up with a mild case of "dancing-induced exhaustion," but he kept the smile on the whole time. That’s the "flim-flam" spirit, right?
Why "Razzle Dazzle" Is the Movie’s Thesis
The song itself is basically a manual on how to manipulate the public. "Give 'em the old Razzle Dazzle / Razzle Dazzle 'em / Give 'em an act with lots of flash in it / And they'll never know you're just a bagel."
It's a metaphor for the entire justice system in the film. While Roxie Hart is on trial for murder, Billy Flynn is literally performing magic tricks. In the stage play, this is just a song. In the movie, Marshall uses "Roxie’s vision" to transform the courtroom into a sequined dreamscape.
Breaking Down the Performance
If you watch the scene closely, Gere isn't just dancing; he’s acting through the sweat. He uses his cane like a weapon. The way he adjusts his sparkling striped suit between steps tells you everything you need to know about Billy Flynn’s ego.
People always talk about Catherine Zeta-Jones or Renée Zellweger, but Gere was the anchor. He won the Golden Globe for Best Actor in a Musical or Comedy for this. Oddly enough, he was the only lead actor in the film who didn't get an Oscar nomination, which many still consider one of the biggest snubs of the early 2000s.
The Legacy of the "Flim Flam"
What's wild is how well the Richard Gere Chicago Razzle Dazzle sequence has aged. In an era of TikTok filters and "fake news," Billy Flynn’s philosophy of "fool and fracture 'em" feels uncomfortably modern.
The performance works because Gere doesn't try to be a perfect dancer. He’s a "good enough" dancer with a "perfect" amount of charisma. That’s the point of the character. Billy Flynn doesn't need to be the best singer in the world; he just needs to be the loudest voice in the room.
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If you’re looking to revisit this, don’t just watch the YouTube clip. Watch the way the editing by Martin Walsh (who won an Oscar for this) cuts between the "real" grey courtroom and the neon-lit stage. It’s a masterclass in how to film dance.
Next Steps for the Super-Fan:
If you want to really appreciate the technical skill here, try watching the "behind the scenes" rehearsal footage on the 20th-anniversary Blu-ray. Seeing Gere in a sweaty t-shirt struggling with a shuffle-ball-change makes the final, effortless "Razzle Dazzle" performance look even more impressive. You should also compare his version to the original 1975 Broadway choreography—it’s much more "vaudeville" and less "circus," which shows how much the movie changed the tone for a modern audience.