Chapter 151: 42nd Street
Musical films once enjoyed immense glory in Hollywood, only to plummet into decline during the seventies and eighties. They never fully recovered, not even in Duke's previous life. Although Chicago was appearing several years ahead of schedule, Duke wasn't particularly worried. After all, the so-called revival of musical films in the new century was nothing more than a false premise.
Moulin Rouge! had dragged musical films back into Hollywood's line of sight, and by the time Chicago premiered, a nostalgic mainstream industry couldn't wait to declare that the genre's golden age had returned. But what was the reality?
It was nothing but a flash in the pan. The subsequent Honey barely avoided becoming a complete flop. High School Musical was a television movie—meaning its influence was limited—and it belonged to the teen idol genre, which mainstream Hollywood despised the most. Musical films merely rode a brief resurgence sparked by Moulin Rouge! and Chicago, a resurgence entirely tied to the specific subject matter of those two movies.
Nostalgia was practically a staple of mainstream society. Every era harbored its share of nostalgic people, and there was no shortage of them in Hollywood or among moviegoers. That nostalgia provided the very soil in which Chicago could thrive. Even setting aside the film's satirical edge, its sheer retro appeal was bound to stir up sentiment. When the opening notes of "All That Jazz" played, it would awaken fond memories for countless viewers who had seen the stage musical...
More importantly, Broadway had recently announced a revival of Chicago, bringing the classic musical back to the stage!
With both the film and the stage production launching a two-pronged attack, prompting a segment of the audience to reminisce about the golden age of musicals wouldn't be too difficult.
Furthermore, Duke was acutely aware that the musical genre was in irreversible decline. This project would only serve to stir up fleeting memories for a specific demographic; it could never spark the kind of massive theatergoing frenzy seen with action and sci-fi blockbusters.
These were the key reasons why he chose the distinctly American Chicago over Moulin Rouge!.
Granted, such a dramatic shift in genre would undoubtedly shock the media and his fans. It was hard to say how the reviews would pan out, but the pivot had its advantages. The film would hardly lack topicality. Controversy bred curiosity, and a portion of that curiosity would inevitably translate into box office returns.