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All That Jazz (1979)

R  |   |  Drama, Music, Musical  |  20 December 1979 (USA)
7.8
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Ratings: 7.8/10 from 17,025 users  
Reviews: 144 user | 77 critic

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.

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Title: All That Jazz (1979)

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Won 4 Oscars. Another 7 wins & 12 nominations. See more awards »

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Cast

Cast overview, first billed only:
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...
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...
...
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Erzsebet Foldi ...
...
Dr. Ballinger
...
Joshua Penn
William LeMassena ...
Jonesy Hecht
Irene Kane ...
Leslie Perry (as Chris Chase)
...
Victoria
Kathryn Doby ...
Kathryn
Anthony Holland ...
Paul Dann
Robert Hitt ...
Ted Christopher
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Storyline

Choreographing and picking dancers for his current show whilst editing his feature film about a stand-up comedian is getting to Joe Gideon. Without the chemical substances, he would not have the energy to keep up with his girlfriend, his ex-wife, and his special dancing daughter. They attempt to bring him back from the brink, but it's too late for his exhausted body and stress-ravaged heart. He chain-smokes, uses drugs, sleeps with his dancers and overworks himself into open-heart surgery. Scenes from his past life start to encroach on the present and he becomes increasingly aware of his mortality. Written by Jeremy Perkins {J-26}

Plot Summary | Add Synopsis

Taglines:

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

Genres:

Drama | Music | Musical

Certificate:

R | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

|

Release Date:

20 December 1979 (USA)  »

Also Known As:

All That Jazz: O Espectáculo Vai Começar  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

When first released on video, this was the first such videocassette to have a stereo soundtrack. See more »

Goofs

The sweat spot on Audrey's back changes when Joe talks about fidelity and Paul plays the piano. See more »

Quotes

Victoria: Well, you're right. I'm terrible. I know I'm terrible. I look at the mirror and I'm ashamed. Maybe I should quit. I just can't seem to do anything right.
Joe Gideon: Listen. I can't make you a great dancer. I don't even know if I can make you a good dancer. But, if you keep trying and don't quit, I know I can make you a better dancer. I'd like very much to do that. Stay?
Victoria: Are you going to keep yelling at me?
Joe Gideon: Probably.
See more »

Crazy Credits

There are no opening credits, only the company credits and the title, which resembles revolving Broadway lights. See more »

Connections

Spoofed in Eagleheart: Honch (2014) See more »

Soundtracks

Bye Bye Love
(1957) (uncredited)
Written by Boudleaux Bryant and Felice Bryant
Performed by Ben Vereen and Roy Scheider with modified lyrics ("Bye Bye Life")
See more »

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User Reviews

 
On The Wire
15 August 2000 | by (Lexington, Kentucky) – See all my reviews

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.


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