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

Columbia Pictures did not originally want Roy Scheider for the role of Joe Gideon. They wanted Warren Beatty or a more critically acclaimed actor for the role. Bob Fosse stuck to his choice and fought for Scheider, eventually securing him in the lead.

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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

Referenced in The Dialogue: An Interview with Screenwriter Billy Ray (2007)

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Soundtracks

Hospital Hop
(uncredited)
Performed by Anthony Holland

User Reviews

Quite simply a brilliant film.

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.