All That Jazz (1979)

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

Director:

Bob Fosse

Writers:

Robert Alan Aurthur, Bob Fosse

Stars:

Roy Scheider, Jessica Lange, Leland Palmer

Won 4 Oscars. Another 6 wins & 14 nominations.

Cast

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

Storyline

Joe Gideon is a Broadway director, choreographer and filmmaker, he in the process of casting the chorus and staging the dance numbers for his latest Broadway show, starring his ex-wife Audrey Paris in what is largely a vanity project for her in playing a role several years younger than her real age, and editing a film he directed on the life of stand-up comic Davis Newman. Joe's professional and personal lives are intertwined, he a chronic philanderer, having slept with and had relationships with a series of dancers in his shows, Victoria Porter, who he hired for the current show despite she not being the best dancer, in the former category, and Kate Jagger, his current girlfriend, in the latter category. That philandering has led to relationship problems, with Audrey during their marriage, and potentially now with Kate who wants a committed relationship with Joe largely in not wanting the alternative of entering the dating world again. Joe also lives a hard and fast life, he chain ...

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Plot Keywords:

national film registry | dream | narcissism | 1970s | dancer | 

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Taglines:

Prepare yourself for all that acclaim...

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Genres:

Comedy | Drama | Music | Musical

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Certificate:

R

Details

Country:

USA

Language:

English Spanish

Release Date:

20 December 1979 (USA)

Also Known As:

Hinter dem Rampenlicht

Filming Locations:

Kaufman Astoria Studios - 3412 36th Street, Astoria, Queens, New York City, New York, USA

Box Office

Opening Weekend USA:

$86,229, 23 December 1979, Limited Release

Gross USA:

$37,823,676

Company Credits

Production Co:

Columbia Pictures Corporation,Twentieth Century Fox

Technical Specs

Runtime:

123 min

Sound Mix:

Dolby

Color:

Color (Technicolor)

Aspect Ratio:

1.85 : 1

Did You Know?

Trivia

Alan Bates was considered to play Joe Gideon, but was considered "too British".

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Goofs

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

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Quotes

[first lines]
Joe Gideon: To be on the wire is life. The rest is waiting.
Angelique: That's very theatrical, Joe
Joe Gideon: Yeah, I know.
Angelique: Did you make that up?
Joe Gideon: I wish I had. Do you like it?
Angelique: Eh, it's all right.

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Crazy Credits

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

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Connections

References Lenny (1974)

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Soundtracks

Some of These Days
(1910) (uncredited)
Written by Shelton Brooks
Performed by Erzsebet Foldi with Ann Reinking and Leland Palmer

User Reviews

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.