In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.[4][5][6]
Plot
Joe Gideon is a theater director and choreographer attempting to balance staging his latest Broadway musical, NY/LA, while editing a Hollywood film he has directed, The Stand-Up. He is an alcoholic, a driven workaholic who chain-smokes cigarettes, and a womanizer constantly flirting and engaging in sexual encounters with a stream of women. Each morning, he begins his day by playing a tape of Vivaldi while taking doses of Visine, Alka-Seltzer, and Dexedrine, always concluding by looking at himself in the mirror and saying, "It's showtime, folks!" Joe's ex-wife, Audrey Paris, is involved with the production of the show but disapproves of his womanizing ways. Meanwhile, his girlfriend Katie Jagger and daughter Michelle keep him company. In his imagination, he flirts with an angel of death named Angelique in a nightclub setting, discussing his life with her.
As Joe continues to be dissatisfied with his editing job, repeatedly making minor changes to a single monologue, he vents his anger on the dancers and in his choreography. This leads to a highly sexualized number of topless women during a rehearsal, frustrating the show's penny-pinching backers. One of the few moments of joy in his life occurs when Katie and Michelle perform a Fosse-style number for Joe as an homage to the upcoming release of The Stand-Up, moving him to tears. During a table-read of NY/LA, Joe experiences severe chest pains and is admitted to the hospital with severe angina.
Joe brushes off his symptoms, attempting to leave for rehearsal, but he collapses in the doctor's office and is ordered to stay in the hospital for several weeks to rest his heart and recover from exhaustion. NY/LA is postponed, but Gideon continues his antics from the hospital bed, smoking and drinking while hosting endless streams of women in his room. As he does, his condition continues to deteriorate, despite Audrey and Katie remaining by his side for support. A negative review for The Stand-Up, released during Joe's hospitalization, comes in despite the film's financial success, and Gideon has a massive coronary event.
While Joe undergoes coronary artery bypass surgery, the producers of NY/LA realize that the best way to recoup their money and make a profit is to bet on Gideon's death: the insurance proceeds would result in a profit of over half a million dollars. As Gideon goes on life support, he directs extravagant musical dream sequences in his head starring his daughter, wife, and girlfriend, all berating him for his behavior. He realizes he cannot avoid his death and has another heart attack.
As the doctors try to save him, Joe runs away from his hospital bed behind their backs, exploring the basement of the hospital and the autopsy ward before allowing himself to be taken back. He goes through the five stages of grief—anger, denial, bargaining, depression, and acceptance—featured in the stand-up routine he had been editing. As he gets closer to death, his dream sequences become more and more hallucinatory. As the doctors try one more time to save him, Joe imagines a monumental variety show featuring everyone from his past where he takes center stage in an extensive musical number ("Bye Bye Life", a whimsical parody of "Bye Bye Love"). In his dying dream, Joe can thank his family and acquaintances, as he cannot from his hospital bed, and his performance receives a massive standing ovation. Joe finally dreams of himself traveling down a hallway to meet Angelique at the end. Meanwhile, his corpse is zipped up in a body bag.
Sandahl Bergman, Eileen Casey, Bruce Davis, Gary Flannery, Jennifer Nairn-Smith, Danny Ruvolo, Leland Schwantes, John Sowinski, Candace Tovar, and Rima Vetter as principal dancers
While trying to edit Lenny and choreograph Chicago in 1974, Fosse suffered a massive heart attack and underwent open heart surgery.[11] After recovering, Fosse became interested in the subject of life and death and hospital behavior. Alongside his friend Robert Alan Aurthur, they set out to make a film adaption of Ending by Hilma Wolitzer which had similar themes of death and marital problems. However, after completing the screenplay, Fosse decided against making it a film as he found the material too depressing and felt he wasn't strong enough to stick with it for over a year. Still wanting to stick with the subject matter of death and wanting to use what he felt were his best tools of song and dance, he instead decided to make a film based on his own experiences with making Lenny and Chicago.[12] The story's structure closely mirrors Fosse's own health issues at the time and is often compared to Federico Fellini's 8½, another thinly veiled autobiographical film with fantastical elements.[13][14][15]
The part of Audrey Paris—Joe's ex-wife and continuing muse, played by Leland Palmer—closely reflects that of Fosse's wife, the dancer and actress Gwen Verdon, who continued to work with him on projects including Chicago and All That Jazz itself.
Gideon's rough handling of chorus girl Victoria Porter closely resembles Bob Fosse's own treatment of Jennifer Nairn-Smith during rehearsals for Pippin.[16] Nairn-Smith herself appears in the film as Jennifer, one of the NY/LA dancers.
Ann Reinking was one of Fosse's sexual partners at the time and was more or less playing herself in the film, but nonetheless she was required to audition for the role as Gideon's girlfriend, Kate Jagger.
Cliff Gorman was cast in the titular role of The Stand-Up—the film-within-a-film version of Lenny—after having played the role of Lenny Bruce in the original theatrical production of the show (for which he won a Tony Award), but was passed over for Fosse's film version of the production in favor of Dustin Hoffman.[17]
The part of Joe Gideon was offered to Paul Newman, but turned it down as didn't feel the character was redeemable and also didn't take Fosse into consideration. Newman would later call it a "dumb mistake".[18]
With increasing production costs and a loss of enthusiasm for the film, Columbia brought in Fox to finance completion, and the latter studio acquired domestic distribution rights in return.[19]
Critical reception
On the review aggregator website Rotten Tomatoes, 87% of 46 critics' reviews are positive, with an average rating of 7.6/10.The website's consensus reads: "Director Bob Fosse and star Roy Scheider are at the top of their games in this dazzling, self-aware stage drama about a death-obsessed director-choreographer."[20]Metacritic, which uses a weighted average, assigned the film a score of 72 out of 100, based on 13 critics, indicating "generally favorable" reviews.[21]
In his review in The New York Times, Vincent Canby called the film "an uproarious display of brilliance, nerve, dance, maudlin confessions, inside jokes and, especially, ego" and "an essentially funny movie that seeks to operate on too many levels at the same time... some of it makes you wince, but a lot of it is great fun... A key to the success of the production is the performance of Roy Scheider as Joe Gideon... With an actor of less weight and intensity, All That Jazz might have evaporated as we watched it. Mr. Scheider's is a presence to reckon with."[22]
Variety described it as "a self-important, egomaniacal, wonderfully choreographed, often compelling film" and added, "Roy Scheider gives a superb performance as Gideon, creating a character filled with nervous energy... The film's major flaw lies in its lack of real explanation of what, beyond ego, really motivates [him]."[23]
Gene Siskel praised the film on Sneak Previews finding it fresh and entertaining describing it as "an obituary of a creative man who's afraid his work just might be trivial." His colleague Roger Ebert however, initially gave the film a mixed review when he first saw it, praising Fosse's choreography though criticizing the story finding it discombobulated and self-indulgent. He also found it inferior to 8½ stating, "I think it's kind of ironic Bob Fosse makes a film about his own life and it turns out to be Fellini's life."[24] Years later in 2003, Ebert admitted that he changed his mind on the film and gave it praise stating that he was "wrong" about it at the time and felt it was unfair of him to compare it to Fellini.[25]
Stanley Kauffmann of The New Republic wrote 'Except for one brief flashback, it's a latter-day self destructive agon in which the protagonist is beginning a complex Broadway show,'.[26]
TV Guide said, "The dancing is frenzied, the dialogue piercing, the photography superb, and the acting first-rate, with non-showman Scheider an illustrious example of casting against type . . . All That Jazz is great-looking but not easy to watch. Fosse's indulgent vision at times approaches sour self-loathing."[27]
Leonard Maltin gave the film two-and-a-half stars (out of four) in his 2009 movie guide; he said that the film was "self-indulgent and largely negative," and that "great show biz moments and wonderful dancing are eventually buried in pretensions"; he also called the ending "an interminable finale which leaves a bad taste for the whole film."[15]
Time Out London states, "As translated onto screen, [Fosse's] story is wretched: the jokes are relentlessly crass and objectionable; the song 'n' dance routines have been created in the cutting-room and have lost any sense of fun; Fellini-esque moments add little but pretension; and scenes of a real open-heart operation, alternating with footage of a symbolic Angel of Death in veil and white gloves, fail even in terms of the surreal."[28]
In 2012, the Motion Picture Editors Guild listed the film as the fourth best edited film of all time based on a survey of its membership.[31]
Home media
The DVD issued in 2003 features scene-specific commentary by Roy Scheider and interviews with Scheider and Fosse. Fox released a "Special Music Edition" DVD in 2007, with an audio commentary by the film's Oscar-winning editor, Alan Heim. Blu-ray and DVD editions were released in August 2014 with all the old special features, as well as new supplements through The Criterion Collection brand.[32]
The film is referenced heavily in the Better Call Saul episode: "Mijo".[35] During the episode, there is a montage in which Jimmy's (Bob Odenkirk) routine is revealed: Grabbing his coffee, defending clients, collecting his check, and his ongoing battle with the parking attendant, Mike (Jonathan Banks). During his routine he always looks in the mirror and says "It's showtime, folks!", a line from All That Jazz.
Season 3 Episode 5 of GLOW, "Freaky Tuesday", opens with the same Vivaldi concerto music while the character Tammé is shown struggling, with the help of pills and wine and hot showers, to wake up every morning and tamp down her back pain while continuing to perform as a wrestler each night.
Season 3 Episode 10 of Get a Life, "Zoo Animals on Wheels", features a rehearsal montage set to "On Broadway". During this sequence, Chris Peterson (Chris Elliott) mimics Joe Gideon's cigarette smoking and use of Visine before saying, "It's showtime, folks!" to himself in his dressing room mirror. Elliott would again reference the film in the finale of the Adult Swim series Eagleheart, which concludes with a recreation of the "Bye Bye Life" sequence, with his character Chris Monsanto as Joe Gideon.
The David Fincher–directed music video for Paula Abdul's song "Cold Hearted" is inspired by the "Take Off With Us" dance sequence in All That Jazz.
The 2006 film Marie Antoinette written and directed by Sofia Coppola reuses the Vivaldi concerto in a montage depicting the daily routine of Marie's life with her husband.
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Eagan, Daniel (2010). "All That Jazz". America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. A & C Black. pp.759–761. ISBN978-0826-42977-3.
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