All That Jazz

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.

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 ****

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.

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!