O Show Deve Continuar

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.

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.

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.

To think that Fosse synthesized musical theater, artistic obsession, relationships, fatherhood, and satire all within the framework of a deconstructionist film musical and made it all about himself to boot (including predicting the manner of his own death) without being the least bit self-congratulatory is amazing. The film is edited beautifully; choreographed flawlessly; lit with stark colors that almost fade to black and white at times; and acted with heart and verve, especially by Roy Scheider. The film has one of the most effective uses of the zoom lens (despised by most filmmakers precisely for their inability to figure out when to use it) in film history. The shot pulls back from a lone choreographer on the stage while multitudes of bodies go flying by him, letting us feel his insurmountable task of choosing which of these people will make his show come alive. Some may say the final series of musical numbers runs long but I defy anyone these days to sustain a musical film with the same success. "Moulin Rouge" and "Chicago", excellent films that they are, play their cards fast and furious, hoping to razzle-dazzle us just long enough that we'll stay tuned. "All That Jazz" dares to show you a taste of musicals to come ("Take Off With Us") and yet insists you remember where the form came from (the Busby Berkely-esque "Who's Sorry Now?"). When will they come out with the DVD? We can only hope soon.

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.