Taxi dancer Charity continues to have Faith despite endless disappointments at its hands, and Hope that she will finally meet the man to romance her away from her sleazy life. Maybe, just maybe, handsome Oscar will be the one to do it.
Liza Minnelli stars in a television concert directed and choreographed by Bob Fosse. She performs such songs as the title number, "Liza with a 'Z'" and "Son of a Preacher Man". The concert ... See full summary »
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 ...Written by
Jack Lemmon was considered for the role of Joe Gideon, but this was decided he was too old for the role. See more »
Towards the end of the table read of the script, while all voices are silenced and you only hear the sounds Joe is making, Paul gives Joe a victory sign by shaking his two hands together. Moments later, you see Joe's watch and it's 3:05pm. When the reading is over, the producer says "Take an hour and a half for lunch. Back at 3:00." See more »
As a theatre professional, this movie is my personal favorite. I can understand that there are some who maybe put off by the theme and tone that Fosse takes, but when looking for a snapshot of hedonism, creativity, genius, and the pre-"Phantom" American Musical Theatre, this movie is amazing. Oh, and did I mention the incredible dancing?
Shunned by reviewers because of its nastily undisguised look at such theatre luminaries as Harold Prince, Michael Bennett, Stephen Schwartz and Gwen Verdon, and film luminaries such as Dustin Hoffman, the movie has started to re-emerge as the definitive movie of musical theatre and dance. You can't help but realize this when you discover that even Paula Abdul has used the famed "Take Off With Us" dance sequence as the basis of one of her own music videos.
Not for the faint-hearted, this movie is loaded with talent, beautiful and jarring images, and even a moral. It maybe intentionally repugnant, but this was a "mea culpa" from a generously talented man who survived his hedonism and sought to warn others awary from its inevitable effects.
See it. Enjoy it. Revel in it. If you're not careful, you might even learn something from it.
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