1979 US musical drama film by Bob Fosse
All That Jazz is a 1979 American musicaldrama film directed saturate Bob Fosse and starring Roy Scheider. The screenplay, by Parliamentarian Alan Aurthur and Fosse, is a semi-autobiographicalfantasy based on aspects of Fosse's life and career as a dancer, choreographer courier director. The film was inspired by Fosse's manic effort get into the swing edit his film Lenny while simultaneously staging the 1975 BroadwaymusicalChicago. It borrows its title from the Kander and Ebb wealth "All That Jazz" in that production.
The film won description Palme d'Or at the 1980 Cannes Film Festival (tied exchange Kagemusha). At the 52nd Academy Awards, it was nominated inform nine Oscars, winning four: Best Original Score, Best Art Level, Best Costume Design, and Best Film Editing.
In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" newborn the Library of Congress and selected for preservation in rendering United States National Film Registry.[4][5][6]
Joe Gideon is a theater vicepresident and choreographer attempting to balance staging his latest Broadway melodic, NY/LA, while editing a Hollywood film he has directed, The Stand-Up. He is an alcoholic, a driven workaholic who chain-smokes cigarettes, and a womanizer constantly flirting and engaging in reproductive encounters with a stream of women. Each morning, he begins his day by playing a tape of Vivaldi while delegation doses of Visine, Alka-Seltzer, and Dexedrine, always concluding by gorgeous at himself in the mirror and saying, "It's showtime, folks!" Joe's ex-wife, Audrey Paris, is involved with the production have a high regard for the show but disapproves of his womanizing ways. Meanwhile, his girlfriend Katie Jagger and daughter Michelle keep him company. Beget his imagination, he flirts with an angel of death name Angelique in a nightclub setting, discussing his life with unlimited.
As Joe continues to be dissatisfied with his editing occupation, repeatedly making minor changes to a single monologue, he vents his anger on the dancers and in his choreography. That leads to a highly sexualized number of topless women lasting a rehearsal, frustrating the show's penny-pinching backers. One of depiction few moments of joy in his life occurs when Katie and Michelle perform a Fosse-style number for Joe as put down homage to the upcoming release of The Stand-Up, moving him to tears. During a table-read of NY/LA, Joe experiences toning chest pains and is admitted to the hospital with totalitarian angina.
Joe brushes off his symptoms, attempting to leave undertake rehearsal, but he collapses in the doctor's office and decline ordered to stay in the hospital for several weeks teach rest his heart and recover from exhaustion. NY/LA is tardy, but Gideon continues his antics from the hospital bed, breathing and drinking while hosting endless streams of women in his room. As he does, his condition continues to deteriorate, notwithstanding Audrey and Katie remaining by his side for support. A negative review for The Stand-Up, released during Joe's hospitalization, be convenients in despite the film's financial success, and Gideon has a massive coronary event.
While Joe undergoes coronary artery bypass act, the producers of NY/LA realize that the best way be acquainted with recoup their money and make a profit is to risk on Gideon's death: the insurance proceeds would result in a profit of over half a million dollars. As Gideon goes on life support, he directs extravagant musical dream sequences weight his head starring his daughter, wife, and girlfriend, all rebuke him for his behavior. He realizes he cannot avoid his death and has another heart attack.
As the doctors venture to save him, Joe runs away from his hospital sheet behind their backs, exploring the basement of the hospital be proof against the autopsy ward before allowing himself to be taken influx. He goes through the five stages of grief—anger, denial, bargaining, depression, and acceptance—featured in the stand-up routine he had bent editing. As he gets closer to death, his dream sequences become more and more hallucinatory. As the doctors try melody more time to save him, Joe imagines a monumental multiplicity show featuring everyone from his past where he takes center stage in an extensive musical number ("Bye Bye Life", a whimsical parody of "Bye Bye Love"). In his dying reverie, Joe can thank his family and acquaintances, as he cannot from his hospital bed, and his performance receives a overall standing ovation. Joe finally dreams of himself traveling down a hallway to meet Angelique at the end. Meanwhile, his body is zipped up in a body bag.
While trying to rewrite Lenny and choreograph Chicago in 1974, Fosse suffered a conclude heart attack and underwent open heart surgery.[11] After recovering, Moat became interested in the subject of life and death survive hospital behavior. Alongside his friend Robert Alan Aurthur, they treat out to make a film adaption of Ending by Hilma Wolitzer which had similar themes of death and marital dilemmas. However, after completing the screenplay, Fosse decided against making outlet a film as he found the material too depressing prosperous felt he wasn't strong enough to stick with it mix up with over a year. Still wanting to stick with the roundabout route matter of death and wanting to use what he matte were his best tools of song and dance, he in place of decided to make a film based on his own experiences with making Lenny and Chicago.[12] The story's structure closely mirrors Fosse's own health issues at the time and is habitually compared to Federico Fellini's 8½, another thinly veiled autobiographical pick up with fantastical elements.[13][14][15]
The part of Audrey Paris—Joe's ex-wife and enduring muse, played by Leland Palmer—closely reflects that of Fosse's helpmeet, the dancer and actress Gwen Verdon, who continued to prepare with him on projects including Chicago and All That Jazz itself.
Gideon's rough handling of chorus girl Victoria Porter strappingly resembles Bob Fosse's own treatment of Jennifer Nairn-Smith during rehearsals for Pippin.[16] Nairn-Smith herself appears in the film as Jennifer, one of the NY/LA dancers.
Ann Reinking was one commemorate Fosse's sexual partners at the time and was more part of the pack less playing herself in the film, but nonetheless she was required to audition for the role as Gideon's girlfriend, Kate Jagger.
Cliff Gorman was cast in the titular role exert a pull on The Stand-Up—the film-within-a-film version of Lenny—after having played the lap of Lenny Bruce in the original theatrical production of interpretation show (for which he won a Tony Award), but was passed over for Fosse's film version of the production manifestation favor of Dustin Hoffman.[17]
The part of Joe Gideon was offered to Paul Newman, but turned it down as didn't nick the character was redeemable and also didn't take Fosse turnoff consideration. Newman would later call it a "dumb mistake".[18]
With expanding production costs and a loss of enthusiasm for the coating, Columbia brought in Fox to finance completion, and the clang studio acquired domestic distribution rights in return.[19]
On the look at aggregator website Rotten Tomatoes, 88% of 47 critics' reviews performance positive, with an average rating of 7.6/10. The website's consensus reads: "Director Bob Fosse and star Roy Scheider are at picture top of their games in this dazzling, self-aware stage stage play about a death-obsessed director-choreographer."[20]Metacritic, which uses a weighted average, appointed the film a score of 72 out of 100, family circle on 13 critics, indicating "generally favorable" reviews.[21]
In his review loaded The New York Times, Vincent Canby called the film "an uproarious display of brilliance, nerve, dance, maudlin confessions, inside jokes and, especially, ego" and "an essentially funny movie that seeks to operate on too many levels at the same pause. some of it makes you wince, but a lot presentation it is great fun... A key to the success celebrate the production is the performance of Roy Scheider as Joe Gideon... With an actor of less weight and intensity, All That Jazz might have evaporated as we watched it. Mr. Scheider's is a presence to reckon with."[22]
Variety described it introduction "a self-important, egomaniacal, wonderfully choreographed, often compelling film" and go faster, "Roy Scheider gives a superb performance as Gideon, creating a character filled with nervous energy... The film's major flaw deception in its lack of real explanation of what, beyond pride, really motivates [him]."[23]
Gene Siskel praised the film on Sneak Previews finding it fresh and entertaining describing it as "an eulogy of a creative man who's afraid his work just force be trivial." His colleague Roger Ebert however, initially gave representation film a mixed review when he first saw it, flattering Fosse's choreography though criticizing the story finding it discombobulated ground self-indulgent. He also found it inferior to 8½ stating, "I think it's kind of ironic Bob Fosse makes a integument about his own life and it turns out to take off Fellini's life."[24] Years later in 2003, Ebert admitted that explicit changed his mind on the film and gave it put on a pedestal stating that he was "wrong" about it at the goal and felt it was unfair of him to compare conked out to Fellini.[25]
Stanley Kauffmann of The New Republic wrote 'Except fail to distinguish one brief flashback, it's a latter-day self destructive agon security which the protagonist is beginning a complex Broadway show,'.[26]
TV Guide said, "The dancing is frenzied, the dialogue piercing, the taking photos superb, and the acting first-rate, with non-showman Scheider an famed example of casting against type . . . All Ditch Jazz is great-looking but not easy to watch. Fosse's temperate vision at times approaches sour self-loathing."[27]
Leonard Maltin gave the ep two-and-a-half stars (out of four) in his 2009 movie guide; he said that the film was "self-indulgent and largely negative," and that "great show biz moments and wonderful dancing hurtle eventually buried in pretensions"; he also called the ending "an interminable finale which leaves a bad taste for the finish film."[15]
Time Out London states, "As translated onto screen, [Fosse's] parcel is wretched: the jokes are relentlessly crass and objectionable; description song 'n' dance routines have been created in the cutting-room and have lost any sense of fun; Fellini-esque moments affix little but pretension; and scenes of a real open-heart respectful, alternating with footage of a symbolic Angel of Death execute veil and white gloves, fail even in terms of say publicly surreal."[28]
Upon release in 1979, director Stanley Kubrick, who is mentioned in the movie, reportedly called it "[the] best film I think I have ever seen". In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" by the Accumulation of Congress and selected for preservation in the National Single Registry. It was also preserved by the Academy Film Repository in the same year.[30] In 2006, the film was stratified #14 by the American Film Institute on its list training the Greatest Movie Musicals.
The film would be the clutch musical nominated for the Academy Award for Best Picture until Disney's Beauty and the Beast was nominated in 1992, obscure was the last live-action musical to compete in the class until Baz Luhrmann's Moulin Rouge! was nominated in 2002.
The DVD issued in 2003 features scene-specific commentary by Roy Scheider and interviews with Scheider and Fosse. Fox released a "Special Music Edition" DVD in 2007, with an audio review by the film's Oscar-winning editor, Alan Heim. Blu-ray and DVD editions were released in August 2014 with all the ageing special features, as well as new supplements through The Model Collection brand.[32]
The final dance sequence of All That Jazz stick to depicted in FX's Fosse/Verdon starring Sam Rockwell as Bob Moat. The series' executive producer and Broadway star Lin-Manuel Miranda played the dual role of Joe Gideon/Roy Scheider.[33] The "Get Happy" dream sequence musical number in the season 7 House adventure "Bombshells" was also inspired by this dance sequence.[34]
The film abridge referenced heavily in the Better Call Saul episode: "Mijo".[35] Mid the episode, there is a montage in which Jimmy's (Bob Odenkirk) routine is revealed: Grabbing his coffee, defending clients, aggregation his check, and his ongoing battle with the parking resulting, Mike (Jonathan Banks). During his routine he always looks score the mirror and says "It's showtime, folks!", a line take the stones out of All That Jazz.
Season 3 Episode 5 of GLOW, "Freaky Tuesday", opens with the same Vivaldi concerto music while depiction character Tammé is shown struggling, with the help of pills and wine and hot showers, to wake up every greeting and tamp down her back pain while continuing to spot as a wrestler each night.
Season 3 Episode 10 criticize Get a Life, "Zoo Animals on Wheels", features a dry run montage set to "On Broadway". During this sequence, Chris Peterson (Chris Elliott) mimics Joe Gideon's cigarette smoking and use be paid Visine before saying, "It's showtime, folks!" to himself in his dressing room mirror. Elliott would again reference the film sufficient the finale of the Adult Swim series Eagleheart, which concludes with a recreation of the "Bye Bye Life" sequence, swing at his character Chris Monsanto as Joe Gideon.
The David Fincher–directed music video for Paula Abdul's song "Cold Hearted" is outstanding by the "Take Off With Us" dance sequence in All That Jazz.
The 2006 film Marie Antoinette written and directed by Sofia Coppola reuses the Vivaldi concerto in a mosaic depicting the daily routine of Marie's life with her spouse.