All That Jazz (1979)

Director:

Bob Fosse

Writers:

Robert Alan Aurthur (written by) and
Bob Fosse (written by)

Release Date:

20 December 1979 (USA)

Genre:

Drama | Fantasy | Musical

Tagline:

All that work. All that glitter. All that pain. All that love. All that crazy rhythm. All that jazz.

Plot:

Director/choreographer Bob Fosse tells his own life story as he details the sordid life of Joe Gideon (Roy Scheider), a womanizing, drug-using dancer.

Plot Keywords:

Dream Sequence | Heart Disease | Amphetamine | Broadway | Near Death Experience

Awards:

Won 4 Oscars. Another 6 wins & 11 nominations

Cast

Roy Scheider	...	Joe Gideon
Jessica Lange	...	Angelique
Leland Palmer	...	Audrey Paris
Ann Reinking	...	Kate Jagger
Cliff Gorman	...	Davis Newman
Ben Vereen	...	O'Connor Flood
Erzsebet Foldi	...	Michelle Gideon
Michael Tolan	...	Dr. Ballinger
Max Wright	...	Joshua Penn
William LeMassena	...	Jonesy Hecht
Irene Kane	...	Leslie Perry (as Chris Chase)
Deborah Geffner	...	Victoria Porter
Kathryn Doby	...	Kathryn
Anthony Holland	...	Paul Dann
Robert Hitt	...	Ted Christopher

Runtime:

123 min

Country:

USA

Language:

English | Spanish

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Sound Mix:

Dolby

Certification:

Germany:12 | South Korea:18 | Australia:M | Argentina:18 | Canada:18A | Chile:18 | Finland:K-16 | Iceland:L | Peru:18 | Singapore:NC-16 | Sweden:15 | UK:15 | USA:R

Filming Locations:

Astoria Studios, Astoria, Queens, New York City, New York, USA

Company:

Columbia Pictures Corporation

Trivia:

Ann Reinking, who played a part based on herself, had to audition several times before she was cast.

Quotes:

Joe Gideon: Kate, I try to give you everything I can give.
Kate Jagger: Oh, you give all right; presents, clothes. I just wish you weren't so generous with your cock.
Joe Gideon: [pauses in thought] That's good. I can use that.

Movie Connections:

Referenced in "Family Guy: Brian: Portrait of a Dog (#1.7)" (1999)

Soundtrack:

There's No Business Like Show Business

On The Wire

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.