All That Jazz Reviews and Ratings



  • November 21, 2009
    I watched this in near tandum with Felinni's 8 1/2 and was just struck with how similar they are. This is Fosse's meta-autobiography and is told with his signature style. Sadly, I didn't feel it was as successful as it should have been. The musical numbers were reflexively ind...( read more)ulgent and the obsession with death was a little one-note tuba. But it is by no means a failure and I especially enjoyed watching his complicated relationships with women.
  • September 24, 2009
    Really enjoyable.I dont know how to describe it.One the best movies i have seen.I love musicals.It is my favourite genre.And a good musical always reminds me why do i love movies.Because they yell.Well,"All that Jazz" isnt yelling that much.But there many movies that can yell abo...( read more)ut the problem in our lifes.Like "The Network".Peter Finch was yelling (he was really...but thats not the point)he was yelling about economy and what people do.Now this is Cinema's global yelling style.But there Director's personal yelling style:"8½".Fellini was yelling about how hard it is to do movies.And there wasnt any real yelling in his movie.I dont know what connection it has about "All That Jazz".But thats why i love movies this much.
    And i love musicals (not high school musical).Because they are optimist.And im an optimist."All that Jazz" is the first pessimist musical i love.And i know why i love it.I have to say i love ironic things more than musicals.You know...If you use a happy song in a tragedic scene.That is ironi for me."All That Jazz" is doing that.Joe Gideon has a loose life.But Bob Fosse is telling this in a musical way.And the result is over Amazing!Not only Bob Fosse.Roy Scheider has done a great job too.Espeically This is the best movie Editing i have seen.
  • September 22, 2009
    Roy Scheider gives a good performance of a basically unlikable person and most of the dancing is very good but the overall tone and feeling of the film is off putting.
  • September 18, 2009
    although held back by an unothodox style and pacing of the music, the film excelled in enough areas so as to not only balance it out but to overcome the flaws to make for a very good movie. the commentary on death in the final act was obviously the strength and scheider gave a g...( read more)reat performance.
  • September 18, 2009
    Although this is one of the most decent and unique musicals I have seen so far, it is definitely not a happy film. Bob Fosse directs what for me comes being his hardest-to-watch film. I'm not saying this is disturbing, violent or shocking in any way. However, it's a film with sex...( read more), violence, drugs, religion and death as its main themes.

    The most remarkable aspect of the film is definitely its editing, followed by the both the art direction and set decoration, and the musical numbers. I was truly amazed by its editing the first time I saw it and later found out that this gem won 4 out of 9 Academy Awards, including Best Film Editing. Most of the performances were great and the pace was effectively fast.

    Overall, this is a unique, worth watching effort if you are a fan of either musicals or cinema. Two thumbs up.

    84/100
  • September 13, 2009
    Roy Scheider is remarkable.
  • September 7, 2009
    Good film, love the song.
  • August 6, 2009
    Extremely personal, ironic and even a little morbid, this bold musical will shake your world.
  • August 1, 2009
    Or I didn't get it or it really is bad.
  • June 30, 2009
    genial, senzational,fantastic
  • June 28, 2009
    My All-Time Favorite
    Movie!!! It is pure electricity from Before the beginning of the movie till the end of the credits!!! The "Cattle Call" at the beginning is priceless with the genius of George Bensen underneath.
  • June 6, 2009
    Some of the scenes dragged a bit too much but I love the fact that it was a darker musical. Though music wise I didn't find it very appealing.
  • May 13, 2009
    Lowest of Bob Fosse but still fun.
  • March 14, 2009
    Classic, must see, money back guarantee!
  • March 3, 2009
    Roy Scheider's only musical
  • February 28, 2009
    People should watch this musical classic. It has more sophistication, style, wit and experimentation than most movies today! Unbelievably honest and cool at the same time. Bob Fosse is an unbelievable genius.
  • January 5, 2009
    Absolutely incredible. After one viewing it instantly shot into my favourites. If you love theatre, or film, and have ever struggled to create art, this is the film for you.
  • December 22, 2008
    nominated for best picture at the oscars
  • December 4, 2008
    Bob Foose knows how to direct a musical...
  • November 30, 2008
    O show deve continuar: Joe Gideon é um produtor e coreógrafo de renome. Em mais um dia na sua vida, ele liga o toca-fitas, pinga colírio nos olhos, toma alguns comprimidos de dexedrina, entra no banho e se olha no espelho.
    Mais tarde, num teatro, centenas de dançarinos estão num...( read more) enorme palco fazendo um teste para um novo musical. Joe acha-se nervoso. Sua filha, Michelle, e sua ex-esposa, Audrey Paris, encontram-se também no local. A relação familiar deles não é das mais tradicionais.
    A seguir, numa sala de projeção, Joe vê um filme por ele dirigido sendo finalizado. O filme é sobre um 'pop-star' e fala sobre vida e morte.
    Ao sofrer um enfarte, é operado ao mesmo tempo em que, os produtores do musical que ele faria discutem quanto dinheiro ganharão ou perderão dependendo do sucesso da cirurgia.
    Intercalando as diversas seqüências, Joe aparece discutindo sua vida com um anjo da morte, na forma de uma bela mulher, de fisionomia angelical, com um véu e um vestido brancos. Em seus encontros, ele fala sobre seus problemas com as drogas e a bebida, as infidelidades que destruíram seu casamento e as pressões sofridas durante o trabalho com seu último musical de US$ 2 milhões para a Broadway, e que culminaram com o seu ataque cardíaco.
  • November 7, 2008
    The film, is an uproarious display of brilliance, nerve, dance, maudlin confessions, inside jokes and, especially, ego. It's a little bit as if Mr. Fosse had invited us to attend his funeral.
  • October 31, 2008
    There are way too many days I totally relate to Scheider's character. Especially in the morning.
  • September 4, 2008
    A gloriously made film.It's deliciously subjective and ravishingly demented.Ecstatically shown!Well,I guess those word combinations dashing all the way remind me those weird metrical dance moves,especially the parade of death near the end.
  • August 24, 2008
    The best lines in any musical!!
  • August 18, 2008
    Revisited this movie recently and was struck once again by how excellent it is! I remember it being pretty much dismissed when it was first released - didn't understand that view then, and certainly don't understand it now after having seen and enjoyed it numerous times. Roy Sc...( read more)heider completely conveys the Fosse vibe, and the dancing/choreography are simply outstanding. Foldi (yes, still residing in the 'where are they now' file, much to my dismay), Reinking and Palmer shine in their dance scenes. The final scene with Vereen/Scheider is wonderfully over the top, with heart wrenching pathos as Gideon's daughter (Foldi) hugs him goodbye. Love that Fosse had the balls to make this autobiographical treat complete with his personal view of Lady Death. See it!
  • August 4, 2008
    Roy Scheider's best role... :'(
  • July 13, 2008
    A funky musical based on the creation by a famous dancer, Fossy. Sex, drugs, death, and everything else that people lived on during these times are the things that make this film so great!
  • July 4, 2008
    This movie seemed very high and confused. I had never heard of it before, but I saw it and rented it because I love musicals. Whether it was a musical or not, it was about Broadway and that was close enough. But it really didnt have much to do with music. Its just about a patheti...( read more)c man destroying his life. I was so uninterested that I considered turning it off a few times, but I've never done that to a movie before. I had to give it the benefit of the doubt and see it through. It didnt help.
  • June 7, 2008
    Great music and choreography, and innovative artistic techniques, but what really takes the cake is the loving bitter-man performance of Roy Scheider.
  • May 27, 2008
    visionary tale...excellent storytelling..acting is first rate..one of scheider's best roles...entertaining musical thats not a musical..rather a depiction of the non-stop life of bob fosse and his spiral downward...memorable and timeless!
  • May 18, 2008
    Wonderful, just wonderful. Great performances, specially Roy Scheider.
  • May 11, 2008
    it show time, folks
    brilliant actor roy scheider(r.i.p) play as joe gideon

    it pretty sad ending.
  • April 30, 2008
    ..if you're looking for a visual representation of sweaty, murky, irritation...look no further.

    Here we have ugly, annoying people doing ugly, annoying things --Set To Music! Not just music, Bad music, with equally awful dance numbers...

    Has it been a while since your skin craw...( read more)led? Then give her a go...but if you'd like to keep your nerves in tact, i recommend not watching past the opening musical "On Broadway" audition scene...
  • April 20, 2008
    After years of battling drugs dealers, murderers and sharks, Roy Scheider really shines in this dark musical based on the life of Bob Fosse, who was previously involved in Cabaret, Chicago and Damn Yankees. The ending of this movie (with Ben Vereen) is one of favorite endings.
  • April 1, 2008
    I kind of had a 3-star attitude about All That Jazz throughout most of the movie. I don't like musicals but seeing as how this one was darker and more character-driven I was able to get past my own bias. Roy Scheider was great and Ann Reinking was cute as all hell. Once the inevi...( read more)table kicked in about 2/3 of the way through and the extended (as in often too long) musical and dance numbers kicked in I started losing interest. The hospital scene with the old woman on her death bed left me speechless. And Jessica Lange is a foxy Angel of Death. In the end I liked All That Jazz, but I probably don't need to see it again.
  • March 26, 2008
    A classio must see, up there with Moulin Rouge.
  • March 20, 2008
    Style over content. Still, impressive - a bit stereo-typical characters.
  • March 7, 2008
    This was not at all what i was expecting. This was a rather strange film that had some parts that did not make a great deal of sense to me. However, I am a Fosse fan so it did appeal to me. I wish there was more dancing in it.
  • February 11, 2008
    Unfortunately, I chose to watch this film for negative reasons of sorts; I discovered that Roy Scheider has just died, which is quite a shame as I have always liked him--perhaps driven by my lifelong love of Jaws, but never let down when I did see his performances.

    I was ...( read more)immediately interested in this film when I read the concept, drawing from the simple inclusion of Scheider, but then again from just the idea of someone directing a dark and critical, reality-bending, pseudo-autobiographical film that makes their life into a film. That I had liked Cabaret quite a bit (it being one of the first musicals I liked) only enticed me more. A special edition had been announced, which I picked up not long after its release (which was almost a year ago now) and have now watched.

    Joseph Gideon (Scheider) is a workaholic choreographer and director, waking up each morning and immediately playing a Vivaldi piece, dropping Visine in his eyes, taking dexadrine and saying "Showtime, folks!" to himself in the mirror to get himself moving. We first see him crouched at the foot of a stage during auditions, a massive crowd of possible dancers moving to a fantastic rendition of "On Broadway," all milling just off beat from each other, Gideon's ex-wife Audrey Paris (Leland Palmer) and daughter Michelle (Erzsebet Foldi) in the rear of the theatre, chuckling at the most amateurish of the gradually thinning crowd. The producers and money men sit grumbling and looking at their watches and murmuring amongst themselves, Gideon intently focuses on the dancers in front of him, finally narrowing the mass to a single line. There he interviews each based on their names, applications or their performances, flirting with the females openly. The direction and editing tone is set instantly--this film is very, very well-made. The rest of the story--Gideon attempting to edit his film about a stand-up comic while simultaneously directing a huge Broadway show and managing more women than anyone can keep track of until it all drives him to angina--is told in current time, but occasionally with the intrusion of past events, like a flashback to his non-womanizing days as a youth in a burlesque club when he was first starting in show business and actually studied in his spare time. Here director Bob Fosse--director of Lenny about Lenny Bruce, which of course he edited while staging Chicago and being involved with multiple women, if you catch my drift here--shows us a glimpse of the idea that while he is being extremely hard on himself, he also believes that his current state is a corruption of his youth. He does not assign blame or fault in this, though there's suggestion of some influence in that respect--but shows us that once upon a time, things were different. Interspersed between the past and the present are brief glimpses of the future, including his eventual hospitalization, but more importantly there are his flirtings with Angelique (Jessica Lange), who you may or may not recognize immediately, where he discusses, in a surreal set that clearly represents Gideon's own mind, filled with random treasures, memories, files, furnitures, his own life, often being told on a stage in this strange room by the people currently in his life, either singing from their own character's point of view or 'narrating' events that are performed behind or next to them.

    It's stunningly constructed, these little glimpses into Gideon's mind feeling for all the world like we are indeed wandering into his mind, he and Angelique changing randomly their positions and actions because they are outside reality, but always seeming as if she has appeared to interrupt his natural mental business, or occasionally to simply distract him while he continues to act on it, sorting through his mental clutter, perhaps digging at memories or looking for ideas. Everything he says broadcasts an open, frank discussion of his negative habits, that he says "I love you" when it "works," or that he cheated constantly on his wife. He never acts as if these things don't matter objectively, but admits freely that they are something he does and will continue to do. And while he states all things firmly, when he comes back later to the same question and answers differently, it is just like any of us, asked the same emotional question twice in different times in life and answering differently as if this has always been the truth.

    Of course, hiding in this film (from Fosse?! what a shock!) are numerous unbelievable musical setpieces, the first major one--barring the opening "On Broadway"--is "Take Off with Us," Gideon's re-working of songwriter Paul Dann's (Anthony Holland, the character allegedly based on Stephen Schwartz) formerly cheery and simplistic number into into a sexed up Fosse-fied version (dragged out line endings, especially those ending in sibilants, are the signature to my admittedly untrained ear) that morphs into a number that involves extremely erotic dancing and eventually even full-fledged (though not full-frontal) nudity. It's not remotely tawdry or exploitative, at least so long as one isn't too prudish--the choreography is simply too damn good, and the nudity too relevant to the song's subject matter to feel that way. The second most obvious is the fourth-wall-bending "hospital hallucination" sequence"--which we are told is called just that before a clapboard is shut in front of us, showing us that now Fosse is directing himself...directing himself. It's suddenly fantastic musical sets, some dancing reminiscent of Busby Berkeley (which I was originally uncomfortable noting, but someone else mentioned it in the special features, so I'll give it a shot here, and risk criticism later) and the admonishing advice of the women in his life telling him to change his ways before he dies. Finally we are lead into the fantastic ending number, led by Ben Vereen (who I honestly, shamefully, know primarily for his hosting of the Muppet Show at one point) that contorts "Bye Bye Love" from a melodramatic adolescent love song into a disturbingly dark rendition of a man's ode to his own death.

    Appearing further are brief roles for the unusually-haired John Lithgow as a rival stage director who is offered the chance to take over Gideon's play when he enters the hospital--the monetary and financial discussions of this possibility juxtaposed with graphic footage of open-heart surgery, blatant but intelligent--but is mocked by the film itself (and thus most likely Fosse). Appearing, amusingly, in this scene are two even more unknown character actors who also have more hair than I'm used to--David Margulies ("Somebody get me the Ghostbustas!"--yes, Ghostbusters' Mayor) as an accountant and Wallace Shawn (who's that you say? One word:"Inconceivable!") as a man adding up Margulies' totals. Continuing the theme of "money men who are played by unusual character actors who've never gotten terribly big roles," Max Wright (yes, the father on ALF) appears as Joshua Penn, the man harassing Gideon into finishing editing on The Stand-Up.

    An absolutely fantastic film, seamlessly blending musical numbers, surrealist contemplation of mortality, symbolism and autobiographical facts it takes little to recognize--which is a point I can't leave out. Fosse and fellow writer Robert Alan Arthur cleverly choose to draw the perfect line between reality and fiction, with events matching clearly enough that we recognize them, but without looking like they just didn't have the rights to put actual names or footage in, and with all people played by actors who are not the original people (barring Gideon's girlfriend Kate, played by Ann Reinking, who apparently played essentially herself) helping us to simply accept and "live through" Gideon's life, without being overly distracted by too much truth or occlusion so great that we're trying too hard to puzzle out whether, yes, that's referring to Lenny or not. We don't see Dustin Hoffman in the role, we see Cliff Gorman (who, interestingly, apparently played the role of Lenny Bruce on stage), we don't see who the rival in Fosse's life is, we see Lithgow as Lucas Sergeant. This was absolutely refreshing to me as I am easily distracted by media that doesn't draw its lines clear enough, hinting too heavily without being completely explicit, or hiding the truth too well to recognize.
  • January 22, 2008
    I got burned out just watching this...
  • January 19, 2008
    My favorite movie of all times.
  • December 28, 2007
    Joe Gideon walks us through death but it has an awesome sound track and great dancing!
  • December 21, 2007
    Show must go on! This premise that keeps us mving, the ley motive of show buissness is fully expresed in this "autoreferencial" pic from the Broadway leged Bob Fosse Yes, it is very 80 and s edited quite MTV alike but when thin bout showbizz no image is stronger than Roy Scheid...( read more)er (plaiyn Bob?) wit the cigarrete on the shower, or elavorating te coreograpy/ Presntation/ Stage of his own dead. Genius! I love it.This film has mark me on fire since my childhood, and is the first one to come to my mind at an rough time.
  • December 19, 2007
    Great and daring autobiography by Bob Fosse, which sadly was right about it's predictions of the future.

Summary


All That Jazz Summary