All That Jazz

One of the best musicals ever made, it's a love song to theater and hedonism and all things Fosse.

Roy Schieder does a fantastic job brings Fosse to life, making the charming womanizing cad unrepentant and lovable at the same time.

Jessica Lange as 'the angel of death' is all you'd want from a grim reaper, and more.

But the real standout is the vibrant editing and music- long before MTV coopted the fast and loose cutting styles that make it hard to focus, Fosse put it to good use- he doesn't just cut for shock value, he cuts WITH the music, creating images that go right into your inner rythm somehow.

I don't know how he did it, but every film student in the world should study this masterpiece.

Ten out of ten!

One of the most gleefully indulgent, self-loathing films ever made- yet watchable as a train wreck, thanks to its bravery, wit and overall excellence.

Scheider is unexpectedly effective as the director's mirror image, a talented louse who deserves what he gets. I can only imagine the smirk that must have been on Fosse's face throughout this production. He doesn't ask for forgiveness, he doesn't try to justify Gideon's behavior, and he certainly didn't encourage Scheider to be sympathetic. "You're right, I'm a bastard," he seems to be saying.

While catchy and professional, the musical numbers (particularly the art direction and costumes) range from tasteless to bombastic- as they were intended, I think. The choreography is precise, the editing masterful, and the performances in sharp focus. These elements, plus the acerbically mournful script, make for a fascinating deconstruction of self to an extent rarely, if ever, seen in the movies.

Not every artist should think himself so interesting, but thankfully, both Fosse's professional and personal life merited such honest examination. I can't think of any of our more iconic filmmakers today who have been turned the camera back on themselves in such unflinching fashion.

Note: Among the direct parallels to Fosse's actual career are "The Stand-Up" to "Lenny", and Lithgow's snooty Lucas Sergeant to theatre's estimable Harold Prince.

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.

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.

Bob Fosse's autobiographical look at the hectic life of a Broadway director/choreographer rehearsing a new show in New York City while concurrently editing his latest movie. Roy Scheider fabulously stands in for Fosse; as Joe Gideon, pill-popping, womanizing, self-destructive genius on the verge of collapse, it is Scheider's shining moment as an actor. Fosse paints himself as suspicious, paranoid, driven, indifferent, exhausted and horny. It's more than most of us want to know about the man, who seems intent on showing us what a creep he is...but a talented creep! The film doesn't particularly look good (it's a gray movie), though it has amazing musical flourishes and the self-styled bombast is actually rather amusing once you get the idea. Jessica Lange is beautiful in an early role as the Angel of Death (imagine Fosse explaining that role to her!), and Scheider's performance is really something to see (only occasionally does the camera catch him not knowing what to do). Fosse tries hard not to be pretentious, he keeps things playful and perky, and his ironic ending is bitterly funny. The film is alive and ticking--but that's not Fosse's heart, it's a time bomb. *** from ****