El show debe seguir

All that Jazz is a great film that almost seems to have dropped off the radar screen of classic musicals. The film gives us the account of a choreographer named Joe Gideon (Scheider) whose relentless way of living drives him straight into the grave. The character is based on the real life of director Bob Fosse who suffered the same fate in 1987. Gideon is a womanizing, drug abusing, perfectionist who begins each morning with the same routine. He pops a few pills, takes some Alka-Seltzer, jumps in the shower (sometimes with a cigarette in his mouth!), and declares it's "showtime" after giving himself one last look in the mirror. When we meet him, he's currently putting the finishing touches on a film he's just directed, and he's beginning work on a new Broadway musical. The man looks absolutely exhausted. He's always smoking. He seems on the brink of collapse from angina, and he frequently grasps his left arm apparently in an effort to determine if his heart is still beating or not.

The main idea behind this film is that Gideon knows he's dying. The life he has lived has assured him only a brief stay on this earth. As the film plays out, we see how Gideon comes to grips with his impending fate. His final journey is often touching; sometimes joyful. But above all, it is compelling and once it's over, you'll probably wish Gideon had hung on longer. He seemed to have so much to live for. Even the people around him who he's hurt in life (his ex-wife and current girlfriend, for example) still are a big part of his life. He has a wonderful daughter who he's just getting to know, as well. Without him around, there would certainly be an enormous void left for all of the central characters in this film. We see him confess his life's sins to Jessica Lange who plays an angel waiting to usher him into the afterlife once he finally succumbs to his medical problems. The closer the two of them get, the closer he is to the grave.

Fosse's direction is exceptional. His musical numbers (particularly Airotica) are top-drawer as you'd expect them to be. And he's never afraid to shock you with his camera-work. At one point we get an up-close and personal look at Gideon's heart surgery, and that's a bit grotesque for a musical. Remember this is the same director that showed us Dorothy Stratton's face getting blown off with a shotgun in Star 80.

Fosse also understandably knows these characters better that they know themselves. By the end of the film, you really know Joe Gideon, and you feel like you've lived part of his life. Fosse saw the same fate coming to himself, and indeed it found him in 1987. We often wish exceptional individuals would stick around longer, but then again it's the way they live that makes them so exceptional.

This film is highly recommended. 9 of 10 stars.

The Hound.

Read my review of "Newsies" if you want my opinion of the musical genre. People just don't break into song-and-dance numbers in the course of their daily lives. Unless they are Bob Fosse, when suddenly doing so not only makes sense, but makes you wonder how we can go through life NOT singing and dancing.

What this movie is, is simple: Bob Fosse unveiling his life, his knowledge, and a detailed explanation of his creative process, for future generations to evolve. This film is part biography, part self-exploration, and part legacy. It is the "legacy" part that is overlooked by almost everyone. If you ever dreamed of becoming a choreographer, this is the ideal place to start, because you'll watch, over and over, as Joe Gideon (Roy Schieder as the fictionalized Fosse) puts his stamp on a dance number, a process so unique and brilliant that it could easily be classified as its own form of dance rather than a subset of modern dance. If three words could sum up Fosse's style of choreography it would be "make it sexier." Then make it even sexier. Then, when you're done, you need to make it even sexier. The "Airotica" number exemplifies this, and served as the inspiration for Paula Abdul's "Cold Hearted" video.

The movie brings Fosse's inner circle and personal life to the screen, pulling absolutely no punches. Some call this film a form of narcissism, but it's hard to see how a man looking for self-given glory would portray himself falling apart physically and personally, the years obviously having taken a toll, as well as the emotional baggage that comes with abandoning family life (and a brilliantly played daughter by Erzsebet Foldi, in what would be her only film before she retired) for a girlfriend with some side dishes for variety. The women hate Gideon's infidelity, but love the man so dearly they know not to question or challenge it.

Throughout the film, we are treated to vignettes that comprise the mosaic that is the life of Fosse. Metaphors abound, and the music blends effortlessly into a film that can make two hours seem like two minutes. This is not a film that could have been written and will not be enjoyed by those of simple intellects. So much of the plot exists in the abstract, and it is up to the viewer to find what is often an incredibly subtle symbolism. Simply put, this is a well-constructed film. Fosse's ex-wife and dance protégé, Ann Reinking, auditioned for (!) and won the part based on her, while the supporting cast includes many solid names, even a young John Lithgow as Lucas. Fosse's daughter makes a cameo in the film, as does the film editor. The comedian who appears as the subject of a movie is based on Lenny, a previous Fosse film.

Joe Gideon is what everyone should be no matter what they do: someone who doesn't copy others, but develops their own vision and then methodically, sometimes maniacally, makes it happen. He lives in the moment, and squeezes everything he can out of each moment. This is evidenced by Gideon's brilliant work, but also by his rapidly deteriorating health caused by living in the party moments as well as the serious ones.

The ending number is for the ages, putting a spin on the sappy endings that musicals are famous for.

Your life is lacking until you have seen this film. That it did not win the Best Picture Oscar for its year was an absolute tragedy. It is one of the five best films of all time.

Roy Scheider is outstanding as Joe Gideon, a dance instructor & film director who is also a womaniser, heavy smoker, big drinker, drugs taker & workaholic & whose life is spiralling out of control. This is autobiographical story from Bob Fosse, I've never heard of this guy, so I'm just talking about the film & the magnificent ROY SCHEIDER.

ROY SCHEIDER.... A legend of 1970's Cinema, a guy who is still underrated in my opinion & yet has given us some absolute Classic's such as, JAWS & JAWS 2 & BLUE THUNDER & THE SEVEN-UPS & LAST EMBRACE & THE FRENCH CONNECTION!!! This guy is one of the reasons I'm a film fan & movie geek as i grew up watching Scheider in Jaws & Jaws 2 & his iconic role as Police Cheif Brody is probably the first film character i knew by name & loved. Scheider has always been there as a recognisable face in films from when i was little & watching videos all the time, i also loved The French Connection & Blue Thunder. Truly Roy Scheider is one of my all-time favorite actors (in my top 3) & is such an amazing screen presence, Jaws wouldn't of been as great without Scheider as Brody.

Here Roy Scheider delivered one of, if not his best, Performances of his incredible Career. Roy is mesmerising on screen in all his sweaty & energetic glory, he's so charismatic, funny & tragic all at the same time. It was exhausting just watching him. Truly one of the best performances of the 70's & in movies in general!!! Joe isn't a bad man or a good man he's just a guy that lives too fast & wants everything all at once. We get scenes with his daughter & he's a good father but at the same time he's constantly distracted by his work on his show & trying to edit his movie & all the women he beds. Joe is a man obsessed with sex & how much he can get of it. The movie is a musical in ways but mainly a drama, a drama that is both dreamlike & realistic at the same time. All That Jazz is superbly directed & acted, Scheider should've gotten an Academy Award.

I really enjoyed this film even though i have no interest in musicals but i had to watch it for Roy Scheider's performance & i just love 70's filmmaking. An entertaining & very interesting character study drama set within the crazy world of Show Business.

I just saw the movie for the first time since its initial release and was struck by how well it holds up. The casting alone is quite remarkable, the set design is often striking, and the entire roman-a-clef peek inside the life of Bob Fosse remains fascinating.

There are at least two more pieces of "insider" ironic casting that appears to have not been mentioned. One was the casting of Cliff Gorman as the stand-up comedian in the "Lenny"-type movie-within-the-movie (here called "Stand-up"). Gorman originated the part of Lenny Bruce in the original Broadway version of "Lenny," but lost the movie role to Dustin Hoffman.

The other is the casting of Ann Reinking as Gideon's lover. Ann Reinking was Fosse's lover in real life.

Artistic people probably do not understand how creatively-lacking people function in their day to day lives. Uncreative people judge artists are pretentious, ridiculous, and unrealistic because of their own lack in understanding of an artistic mind. Ignorance no longer need be a problem, not once you see All That Jazz. I've never seen an artist's thinking, inspiration, and life depicted better in a more flashy, colorful, and wild film.The protagonist, Joe Gideon is for the first two thirds of the film, practically never captured on screen without a cigarette on his lips. Watching All That Jazz is like stealing the cigarette from his mouth and inhaling his artistic expression.

The most obvious aspect of All That Jazz that is successful is the manner in which its technically made. Bob Fosse is the director here and each scene is directed with such precision, you can feel the real-life, artistic pain melt off the screen. In a film that centers itself around dancing, the choreography is feisty, swift, and collectible complex and inventive. The sets and costumes are dazzling and prove the film cares about it's look just as much it does entertaining us and even more so than both of those, it makes a priority of saying something about artists. The film editing is used as a poem of madness and completely works for All That Jazz.

The grounding strength of All That Jazz is Roy Scheider being front and center breathing life and artistic "smoke" into the film. Never a moment where he takes things too far, everything is held back like a man who has bit off more than he could chew would hold things back. Scheider is perfectly astute and the film wouldn't be the same without his understanding of the character and story. All That Jazz is centered around a flawed man with a drug addiction, uncontrollable sexual desires, stress levels that go through the roof, and personal relationships that have more bumps than they are smooth. Yet, we understand this man's life and work because of Scheider.

All That Jazz is bright, flashy, and seeking attention to this business and lifestyle. Artistic people are misunderstood by people as some sort of hippie that tries to sway away from "the norm" any chance they get. No, they understand themselves and feel they have something to share with the world. They see the world differently than "normal" people do. They have a firmer grasp on what things mean to them. It almost feels like a style of film Fellini would be directing. All That Jazz is in tune with the the work, the stress, and the real-life hardships that come as a package deal in the entertainment industry. The film is like shining bright lights on big distress.

Through this wild, raunchy film, Fosse makes a commentary on an artist's experience understandable to the common man in a very entertaining way. All That Jazz reinvents the word style, flashing new visuals, songs, and choreography at us every minute. Filled with art, dance, and personal expression, All That Jazz will suffocate you with its fantastically told metaphor of an artist's life.