A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Thursday, October 22, 2020

All That Jazz (Bob Fosse, 1979)

Jessica Lange and Roy Scheider in All That Jazz
Cast: Roy Scheider, Jessica Lange, Ann Reinking, Leland Palmer, Cliff Gorman, Ben Vereen, Erzsebet Foldi, Michael Tolan, Max Wright, William LeMessena, Irene Kane, Deborah Geffner, John Lithgow, Sandahl Bergman. Screenplay: Robert Alan Aurthur, Bob Fosse. Cinematography: Giuseppe Rotunno. Production design: Philip Rosenberg, Tony Walton. Film editing: Alan Heim. Music: Ralph Burns. 

Bob Fosse's All That Jazz has a valedictory feeling to it, and not just because it's about a man foreseeing his own death, which strikingly foreshadows that of Fosse himself. It also feels like one of the last films of the 1970s, a decade associated with young hotshot American filmmakers who were determined to go their own way and to craft movies filled with personal vision that didn't sugarcoat the material or pander and talk down to the audience. After them, the myth goes, came the deluge of movies made with a view to spawning sequels and franchises. That summary is oversimple, of course, but perhaps it does illuminate why a film like All That Jazz continues to fascinate viewers, despite its inherent messiness and occasional excessive self-indulgence. It's held together by Fosse's abundant mad energy and by a cunning, committed performance by Roy Scheider as the driven, workaholic, self-destructive Joe Gideon, whom only the most obtuse would deny is a warts-and-all self-portrait by Fosse. All That Jazz is usually classified as a musical, because of its elaborate production numbers, but it fits the genre only loosely. It's a bit like 42nd Street (Lloyd Bacon, 1933) in that it's a "backstage musical" with a serious undercurrent, although the undercurrent becomes a torrent in All That Jazz, and the music becomes an ironic counterpoint to the sardonic drama of the life and death of Joe Gideon.   

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