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Rating:  -
Brilliant and reckless, self indulgent and obsessive, Bob Fosse's self destructive masterpiece of a semi-autobiography fuses the genres of the musical and the horror film in a flame of black magic. ALL THAT JAZZ, while far from perfect, demands viewing if for no other reason than it holds no punches while it stares its subject bluntly in the face. And the face in this case is none other than one of the maddest geniuses the American Theatre ever produced- the choreographer enfant terrible- Bob Fosse.
Webster's Dictionary presents these definitions of the word "horror:
- intense aversion or repugnance
-a state of extreme depression or apprehension
- and as an adjective- calculated to inspire feelings of dread
ALL THAT JAZZ inspires all those feelings as it intoxicates, infuriates (the steaming and sexy airline number is so overlong- but that is the point!) and wallows in the grotesque, while offering not a single apology along the way.
Fosse dares to take his audience deep into his soul and stare it down with unstinting rage against Dylan Thomas' "dying of the light". His cinematic alter-ego "Joe Gideon" (expertly played by Roy Schieder- a good actor absolutely brilliant here) is a egomaniacal pig. He uses, abuses and discards all around him- including his very soul. His devotion to "show business" and art is singular. Fosse captures the Everests and Canyons of the creative mind. But he does not romanticize or glorify the mercurial creative muse. He is too intelligent an artist for that. The creative genius can be a deal with the devil and Gideon (and Fosse?) eagerly signs his life away.
The dance numbers are magnificent- filled with Fosse's unique style of movement. The much vaunted opening "Cattle Call" sequence is a brilliant example of editing and color. The climatic "Bye-Bye Life" number in which Fosse morbidly films his own death deftly induces both euphoria and repulsion. Fosse's perfection and sense of rhythm intoxicates and seduces as we weaves beautiful bodies in and out of the frame. His choreography celebrates the venal and the holy in a marriage between the organic and the technically precise. There will never be another like him.
Yes, the film is dark. A cautionary tale to be sure. This a unique film that is not only a musical drama, but a horror film- a horror film where the monster is the creator himself.
Historically speaking, it is fascinating that ALL THAT JAZZ came out the same year as that other mad masterpiece- APOCALYPSE NOW (also a true horror film). In man ways ALL THAT JAZZ is the musical version of APOCALYPSE NOW.
Maybe not for all tastes, but a genuine work of art worthy of repeated viewings and analysis.
Rating: -
This is probably one of my most often watched movies. I had skipped this movie for the longest time, thinking it was all about dance. It's not. Those in Theater tell me this is a good look at what goes on behind a big Broadway production. Those who knew Bob Fosse think it's a narcissistic self-serving film. I didn't think so. In my opinion, this is a movie about life, using an unfinished Broadway musical as a metaphor for all the loose ends we leave behind us when we leave this world behind. The movie is quite a roller-coaster ride of funny, sad, dramatic, and light-hearted scenes. Such is life.
Rating: -
Driven creative types are always on the edge and this is a great look into the world of Broadway in New York. The dancing and music are fantastic! You can feel the tension of the castings, dancing, relationships and the clock ticking the time away before one dies. Great movie...
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What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."
Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.
The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.
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This is vintage Bob Fosse at the height of his game. Roy Scheider portrays Joe Gideon, a pill-popping, womanizing workaholic who is literally unable to stop his compulsive bad behavior and the manipulation of the people around him, even at the cost of his life. The movie is reputedly semi-autobiographical, and its eye is not necessarily warm, but it is probing. We see Joe Gideon's complicated relationships with his ex-wife, his daughter, his financial backers, and his colleagues, and it's not a pretty picture. But we also see Joe Gideon's gift, his manic desire to drive his performers to truly achieve, and not settle for mediocrity. And the devices through which the story is told, good old-fashioned singing and dancing production numbers, are just brilliant. This film is getting on in years, it turns 25 in 2004, but the underlying story of razzle dazzle on Broadway, and the toll it exacts, remains as fresh and vibrant as ever.
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