One of the most gleefully indulgent, self-loathing films ever made- yet watchable as a train wreck, thanks to its bravery, wit and overall excellence.

Scheider is unexpectedly effective as the director's mirror image, a talented louse who deserves what he gets. I can only imagine the smirk that must have been on Fosse's face throughout this production. He doesn't ask for forgiveness, he doesn't try to justify Gideon's behavior, and he certainly didn't encourage Scheider to be sympathetic. "You're right, I'm a bastard," he seems to be saying.

While catchy and professional, the musical numbers (particularly the art direction and costumes) range from tasteless to bombastic- as they were intended, I think. The choreography is precise, the editing masterful, and the performances in sharp focus. These elements, plus the acerbically mournful script, make for a fascinating deconstruction of self to an extent rarely, if ever, seen in the movies.

Not every artist should think himself so interesting, but thankfully, both Fosse's professional and personal life merited such honest examination. I can't think of any of our more iconic filmmakers today who have been turned the camera back on themselves in such unflinching fashion.

Note: Among the direct parallels to Fosse's actual career are "The Stand-Up" to "Lenny", and Lithgow's snooty Lucas Sergeant to theatre's estimable Harold Prince.

Bob Fosse's autobiographical look at the hectic life of a Broadway director/choreographer rehearsing a new show in New York City while concurrently editing his latest movie. Roy Scheider fabulously stands in for Fosse; as Joe Gideon, pill-popping, womanizing, self-destructive genius on the verge of collapse, it is Scheider's shining moment as an actor. Fosse paints himself as suspicious, paranoid, driven, indifferent, exhausted and horny. It's more than most of us want to know about the man, who seems intent on showing us what a creep he is...but a talented creep! The film doesn't particularly look good (it's a gray movie), though it has amazing musical flourishes and the self-styled bombast is actually rather amusing once you get the idea. Jessica Lange is beautiful in an early role as the Angel of Death (imagine Fosse explaining that role to her!), and Scheider's performance is really something to see (only occasionally does the camera catch him not knowing what to do). Fosse tries hard not to be pretentious, he keeps things playful and perky, and his ironic ending is bitterly funny. The film is alive and ticking--but that's not Fosse's heart, it's a time bomb. *** from ****

This film is about an EXTREMELY manic Broadway producer (Roy Scheider) who burns the candle at both ends--pushing himself in such an extreme and unhealthy way that eventually he has a heart attack in the midst of a production. Will he survive? Well, while waiting to find out, the film takes an amazing turn. Up until the heart attack, it's a SOMEWHAT conventional film about the making of a play. BUT, after the attack, it suddenly becomes VERY surreal--with many song and dance numbers that explore death! In this sense, the film really is a lot like Fellini's "8 1/2"--but with song and dance numbers! I could say more...but don't want to spoil what happens next. Just hold on...the final scene is one of the most amazingly stunning in film history!!

"All That Jazz" is one of those rare films that I didn't particularly enjoy BUT I really respected what it tried to do. While it is similar, in some ways, to a few other films (such as "42nd Street"), the total package is wholly unique--and for that reason alone it deserves to be seen. But, I am warning you, it's very possible you won't like a lot of the film because the leading man is pretty awful--drinking to excess, using drugs to excess, using women to excess--heck, doing EVERYTHING to excess! Interestingly, the film's director, Bob Fosse, intended this as a sort of autobiography--so I assume Fosse was a very talented but incredibly screwed up man...AND, he welcomed the world to see this!! This was either a case of incredible narcissism or perhaps a cry for help or understanding--I have no idea which the case might be! I mentioned how "All That Jazz" is a lot like "42nd Street". This is because in "42nd Street" (the film), Warner Baxter is in many ways the manic Broadway producer that Scheider is in "All That Jazz"--and, in the end, he burns himself out and dies--all for the sake of the show. As far as "8 1/2" goes, it's much more likely you've seen that and it's a very strange film that explores a film director whose life is VERY hectic and he retreats into fantasy and day dreams to cope with his out of control life. All these films are well worth seeing and would make a great triple-feature.

By the way, less than a decade after "All That Jazz", Fosse really DID die of a heart attack at age 60. Talk about art imitating life!! NOTE: This film has many adult themes, language and nudity. Think twice before showing this to your mother or kids.