The preternaturally gifted director and choreographer Bob Fosse (Cabaret) turned the camera on his own life for this madly imaginative, self-excoriating musical masterpiece. Roy Scheider (Jaws) gives the performance of his career as Joe Gideon, whose exhausting work schedule—mounting a Broadway production by day and editing his latest movie at night—and routine of amphetamines, booze, and sex are putting his health at serious risk. Fosse burrows into Gideon’s (and his own) mind, rendering his interior world as phantasmagoric spectacle. Assembled with visionary editing that makes dance come alive on-screen as never before, and overflowing with sublime footwork by the likes of Ben Vereen, Leland Palmer, and the awesomely leggy Ann Reinking, All That Jazz pushes the musical genre to personal depths and virtuosic aesthetic heights.
Choreographer-turned-director Bob Fosse (Cabaret
) turns the camera on himself in this nervy, sometimes unnerving 1979 feature, a nakedly autobiographical piece that veers from gritty drama to razzle-dazzle musical, allegory to satire. It's an indication of his bravura, and possibly his self-absorption, that Fosse (who also cowrote the script) literally opens alter ego Joe Gideon's heart in a key scene--an unflinching glimpse of cardiac surgery, shot during an actual open-heart procedure.
Roy Scheider makes a brave and largely successful leap out of his usual romantic lead roles to step into Gideon's dancing pumps, and supplies a plausible sketch of an extravagant, self-destructive, self-loathing creative dynamo, while Jessica Lange serves as a largely allegorical Muse, one of the various women that the philandering Gideon pursues (and usually abandons). Gideon's other romantic partners include Fosse's own protégé (and a major keeper of his choreographic style since his death), Ann Reinking, whose leggy grace is seductive both "onstage" and off.
Fosse/Gideon's collision course with mortality, as well as his priapic obsession with the opposite sex, may offer clues into the libidinal core of the choreographer's dynamic, sexualized style of dance, but musical aficionados will be forgiven for fast-forwarding to cut out the self-analysis and focus on the music, period. At its best--as in the knockout opening, scored to George Benson's strutting version of "On Broadway," which fuses music, dance, and dazzling camera work into a paean to Fosse's hoofer nation--All That Jazz offers a sequence of classic Fosse numbers, hard-edged, caustic, and joyously physical. --Sam Sutherland
--This text refers to an out of print or unavailable edition of this title.