Il regista e coreografo Bob Fosse racconta la sua storia mentre descrive la sordida vita del ballerino donnaiolo e drogato Joe Gideon.Il regista e coreografo Bob Fosse racconta la sua storia mentre descrive la sordida vita del ballerino donnaiolo e drogato Joe Gideon.Il regista e coreografo Bob Fosse racconta la sua storia mentre descrive la sordida vita del ballerino donnaiolo e drogato Joe Gideon.
- Vincitore di 4 Oscar
- 12 vittorie e 14 candidature totali
Irene Kane
- Leslie Perry
- (as Chris Chase)
Susan Brooks
- Stacy
- (as Sue Paul)
Trama
Lo sapevi?
- QuizUpon the movie's release in 1979, Stanley Kubrick reportedly believed this to be the "best movie I think I've ever seen."
- BlooperIn a closeup of the back of Joe's head during Bye, Bye Love number, a large strip of Scotch tape is inexplicably running across back of his head.
- Citazioni
Dancer Backstage: Fuck him! He never picks me!
Dancer Backstage: Honey, I *did* fuck him and he never picks me either.
- Curiosità sui creditiThere are no opening credits, only the company credits and the title, which resemble revolving Broadway lights.
- Colonne sonoreOn Broadway
Written by Barry Mann, Cynthia Weil, Jerry Leiber, and Mike Stoller
Performed by George Benson
Courtesy of Warner Bros Records, Inc.
Recensione in evidenza
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.
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.
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- How long is All That Jazz?Powered by Alexa
Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingue
- Celebre anche come
- All that jazz - Lo spettacolo continua
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 12.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 37.823.676 USD
- Fine settimana di apertura Stati Uniti e Canada
- 86.229 USD
- 25 dic 1979
- Lordo in tutto il mondo
- 37.824.824 USD
- Tempo di esecuzione2 ore 3 minuti
- Colore
- Proporzioni
- 1.85 : 1
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What is the Hindi language plot outline for All That Jazz - Lo spettacolo comincia (1979)?
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