Statements (88)
| Predicate | Object |
|---|---|
| gptkbp:instance_of |
gptkb:character
|
| gptkbp:adaptation |
gptkb:musical
gptkb:film gptkb:stage_play film adaptation of Chicago |
| gptkbp:appears_in |
gptkb:Chicago
|
| gptkbp:associated_with |
vaudeville
|
| gptkbp:character_arc |
redemption
|
| gptkbp:character_development |
from opportunist to sympathetic figure
|
| gptkbp:character_motivation |
desire for success
|
| gptkbp:character_traits |
manipulative
|
| gptkbp:character_type |
gptkb:anti-hero
|
| gptkbp:conflict |
gptkb:Roxie_Hart
gptkb:moral_ambiguity gptkb:Velma_Kelly with the justice system |
| gptkbp:cultural_impact |
iconic character
influence on musical theater influence on Broadway influence on film adaptations symbol of the Jazz Age representation of legal drama |
| gptkbp:famous_connection |
to the jazz age
|
| gptkbp:famous_for |
manipulating public opinion
as a top defense attorney |
| gptkbp:famous_interaction |
with the jury
|
| gptkbp:famous_person |
in the story of Chicago.
|
| gptkbp:famous_quote |
" It's all about the money, honey."
" The name on everybody's lips is gonna be Roxie." " I don't care if you have to kill someone to get it." " You can't be too careful with all those strange characters around." " I don't care about the truth!" " You can't stop the beat!" |
| gptkbp:famous_song |
gptkb:All_That_Jazz
|
| gptkbp:goal |
gptkb:wealth
fame |
| https://www.w3.org/2000/01/rdf-schema#label |
Billy Flynn
|
| gptkbp:influence |
gptkb:media
gptkb:public_opinion media portrayal of crime |
| gptkbp:influenced_by |
real-life criminal cases
|
| gptkbp:inspiration |
real-life lawyers
|
| gptkbp:is_motivated_by |
success
publicity fame and fortune |
| gptkbp:known_for |
defending murderers
|
| gptkbp:legacy |
cultural references
enduring popularity influence on legal dramas inspiration for other characters influence on musical theatre |
| gptkbp:musical_number |
We Both Reached for the Gun
|
| gptkbp:notable_appearance |
in the musical's finale
|
| gptkbp:notable_case |
Roxie Hart's trial
|
| gptkbp:notable_collaborations |
with Velma Kelly
|
| gptkbp:notable_for |
defending murderers
|
| gptkbp:notable_performers |
choreographed routines
|
| gptkbp:notable_scene |
courtroom performance
when he first meets Roxie |
| gptkbp:occupation |
gptkb:lawyer
|
| gptkbp:personality_trait |
manipulative
charismatic |
| gptkbp:portrayed_by |
gptkb:Colin_Donnell
gptkb:D._B._Bonds gptkb:Richard_Gere |
| gptkbp:portrayed_in |
gptkb:anti-hero
complex character charming villain lawyer with questionable ethics Richard Gere's performance stage musical Chicago |
| gptkbp:relationship |
gptkb:Roxie_Hart
gptkb:Velma_Kelly |
| gptkbp:relationship_with |
gptkb:Roxie_Hart
the press |
| gptkbp:rival |
Billy's rival lawyer
|
| gptkbp:setting |
1920s Chicago
|
| gptkbp:spouse |
gptkb:Roxie_Hart
|
| gptkbp:symbolizes |
the American Dream
|
| gptkbp:theme |
gptkb:justice
gptkb:corruption celebrity culture fame and fortune corruption in the justice system |
| gptkbp:bfsParent |
gptkb:Roxie_Hart
gptkb:Chicago gptkb:Chicago_(musical) |
| gptkbp:bfsLayer |
4
|