Director:
Bob FosseCámara:
Giuseppe RotunnoMúsica:
Ralph BurnsReparto:
Roy Scheider, Jessica Lange, Leland Palmer, Ann Reinking, Cliff Gorman, Ben Vereen, Michael Tolan, Max Wright, Irene Kane, Erzsebet Foldi, Keith Gordon (más)Streaming (1)
Sinopsis(1)
Joe Gideon (Roy Scheider) es un implacable coreógrafo en este musical poco convencional que retrata la dureza, el esplendor y la decadencia de las gentes del mundo del espectáculo, a quienes el triunfo les niega a veces la posibilidad de otros afectos. Un drama que retrata la otra cara del show, lo que ocurre entre bastidores. (Suevia Films)
(más)Reseñas (6)
Un musical muy provocador y desafiante sobre disfrutar de la vida al máximo en contraste con la posibilidad de la muerte. Sobre un proceso creativo distintivo y una vanidad sin límites. Bob Fosse dirige la trama, más bien sombría, con perspicacia e ingenio. La espina dorsal de la película es la actuación de Roy Scheider, cuyo director, con aspecto de don Juan, se ve abocado a la ruina por su tumultuoso estilo de vida y su carga de trabajo. El final fue tal vez demasiado largo para mi gusto, aunque ciertamente esa era la intención creativa. Me alegro mucho de haberla visto en una gran pantalla una película como esta. Esto mejoró la experiencia. [KVIFF 2018]
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A very personal confession of Bob Fosse, who here prophetically predicted his untimely death. Sod death, life is short and there’s no time to rest because the show must go on. I guess that's how Fosse saw it and Roy Scheider played it superbly.
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A painful moment of dying accompanied by captivating music that energizes, arranged in masterful choreography that takes your breath away. And Roy Scheider in the role of a lifetime, who seems not to be acting, but actually dying. The cinematography is magical, the editing flirts with genius, and the film shines as beautifully as only 1970s cinema can. A musical, a reflection of the times, a biography... two hours of a wasteful genre span, but which tells the entire story in an unspoiled way, to finally enter mercifully into the arms of the friendly Mrs. Death.
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I was expecting a musical about how a musical is made, and I got the epitaph of a hurried man. I didn't catch Bob Fosse either with Cabaret and Lenny, so his multi-genre farewell caught me quite unprepared. It is not really a musical film in the true sense of the word, perhaps not even a drama, romance, or family film. It's actually a combination of everything intentionally wrapped in a knot of depression with extra points for editing that was ahead of its time. With such a subject, the whole experience could be melancholic, nostalgic, and maybe even tearful, if there was time for it. From beginning to end, there is constant strain in rehearsals and in the private lives, to the point that your T-shirt is soaked through with the burden of the somber themes. There are countless knives in the back from the screenplay, but that torn look of Roy Scheider, a man with big ones who knows how many times (and believe me, many times) he has failed, is deeply ingrained in me forever.
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The filmography of Bob Fosse may not be filled with titles, but nevertheless, this creator is considered the main architect of modern American musical art of the second half of the 20th century. All That Jazz is his creative peak, where he managed to utilize decades of work on theater stages, and personal experiences with the artistic environment from an early age to exhausting tours and demanding mature age premieres when only another groundbreaking performance was expected from him. Everything is here - love, infidelity, marital breakdown, artistic compromises in eternal conflict with producers, stress, depression, alcohol and stimulant drugs, endless rehearsals, artistic searching, and constant doubts about his work and the work of others. Anyone who watches All That Jazz will have all the temptations that American musicals can offer - beautiful women, catchy melodies, amazing choreographies, but also espionage, kitsch, and musical clichés. This film provided Roy Scheider with a life-changing role, as he became the embodiment of the real Bob Fosse and gave a stunning performance. Unlike its older siblings from the 1930s-1950s, All That Jazz is much more exploratory and original. I think it is capable of captivating even a viewer to whom this genre otherwise means nothing. Overall impression: 95%.
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It's an example of how a musical can be a powerful work with an unconventional, dramatic story. Music and singing can express practically everything, even the slow dying that a person causes themselves simply by not being able to stop. Bob Fosse directed a film about himself, preparing his own eulogy, which makes All That Jazz even more powerful. Roy Scheider is excellent, and above all, there are unforgettable musical and dance moments. And even death can, under certain circumstances, be beautiful and artistically magnificent. And if not death, then at least farewell.
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