I cannot stand musicals but this one is the only exception. I am so serious when I say this movie had me rapt and the musical numbers did nor bother me at all. Great movie.

Es ist kaum möglich einen Film über einen mit sich unzufriedenen Menschen besser zu drehen. Roy Scheider bietet eine schier göttliche Darbietung, die ihm den längst überfälligen Oscar hätte einbringen müssen. Wie schon bei Jaws und French Connection und vor allem dem Meisterwerk von William Friedkin "Sorcerer" Atemlos vor Angst wurde Ihm der Oscar leider nicht zu Teil. Eine der Schanden welche mich dazu gebracht hat diese Show nicht mehr zu verfolgen. Roy Scheider dürfte der wohl am meisten unterschätzte Schauspieler der siebziger und achtziger gewesen sein. Das beweist Er auch in dem Film All That Jazz. Wie gut muß ein Schauspieler eigentlich sein bis eine Kommission von angeblichen Kennern des Films Ihn oder Sie für den Oscar nominiert und dann auch mit der Auszeichnung belohnt. Roy Scheider, ich bin mir sicher das dort wo Du jetzt verweilst Deine längst verdiente Auszeichnung erhalten hast. R.I.P mein Freund. Du warst der Beste. Für mich bist Du das heute noch. Der Film selbst ist eine regelrechte Persiflage auf die Selbstverliebtheit eines Fanatikers der seine eigenen Grenzen nicht erkennen kann und will. Während Er alle Anderen in seinen Wahn durch erzwungene Teilnahme mitreißt ist er nicht bereit seine eigenen Fehler zu akzeptieren und seiner Fehlbarkeit den Raum zu lassen den Diese zur Entwicklung eines gesunden Verstandes benötigt. Dieser Film ist ein Muss für jeden der wirklich einen hervorragenden Film über die Charaktere eines selbst überschätzten Ensemble sehen möchte. So macht man Filme die jeden Oscar verdient aber nicht bekommen haben. Das ist eben Hollywood.

This is one of the best movies I've ever seen! I've watched it countless times and enjoy it every time!

Filme bacaninha, o roteiro é mais ou menos, o filme pode ter cenas bacanas, com momentos sensuais nas partes do treino e na peça real, a história sem ser a parte sensual, não tem muita relevância e é meio sem graça, teve partes bacanas que teve nudez, as cenas de dialogo deixam o filme fraco, mas o final foi legal, quando o joe gideon tem fortes dores no peito quase o filme todo e no final o show que ele construiu deu certo no final, mas ele morre se ver que dá certo, o final até que foi bom.

Loved it in 1979, love it today. One of my all-time favorite movies.

Very original, fast-paced, loud and unsubtly dark.

Dancing great. Depressing.

Decent musical....it's not grease or Chicago....but has its entertainment.Death numbers are a bit long.Average musical.

It's Fosse, so that's cool. But it's also depressing and kinda corny at the end with all the medical musical numbers.

Tedious. Boring. This film would be better if half of it was laying on the cutting room floor.

★★★★ Added 23 Nov 2023 I have a gut feeling this is one of those movies I'll be revisiting and re-evaluating for many years to come. Overall, it's a mesmerizing experience! The musical numbers are exhilarating, the editing is phenomenal, and Scheider is quite brilliant in a role that you probably wouldn't necessarily think of him to inhabit based on his previous work. He is an underrated actor who doesn't seem to be remembered as much as he should. And that last 20 minutes or so - OMG! Sheer perfection! I do wish we had been given more time with some of the other characters besides Scheider - his ex-wife, his daughter and especially his girlfriend, played by the divine Ann Reinking. Reinking moves so gracefully that her dancing is like breathing. I would have killed to get to know her character more - and have more showstopping musical moments with her. Each supporting character seems a bit fleeting and non-descript, but perhaps that was what Fosse had in mind. It's rather fascinating to watch this after having seen the film version of CHICAGO - it's apparent that Rob Marshall gathered great inspiration from this film. I can't call it an overall triumph - yet - but the good stuff is so beyond brilliant that I can't wait to watch it again and re-think my whole take on it. And the best compliment I can give it as that it makes me anxious to delve into Fosse's other work. I've seen most of his films, but I would love to discover more of his theater work. And a re-watch of the limited series FOSSE/VERDON is going to be absolutely necessary! In a less competitive Best Actor year, Scheider could have been a real contender!

One of the greatest films of the 1970s and one of the greatest films ever. Roy Scheider gives a career best performance as Joe Gideon. Living life by chain-smoking, pill popping, womanizing and being a workaholic is costing him his life and is it worth it? Beautifully edited and choreographed. The last 15 minutes I can argue is the best finale for a film maybe ever. This was Bob Fosse's magnum opus

An entertaining mixture of singing, dancing, and self-aware, metafictional autobiographical filmmaking.

I believe it was Martin Scorsese that said something to the effect of "the most personal is the most creative" and Bob Fosse's 'All That Jazz' proves Scorsese's theory to be valid.

By this point, forty-odd years after its release, most people know how this movie ends. I too was familiar with the infamous ending scene to this movie and had seen it out of context and found it confusing and ridiculous. That was before I sat down and actually watched All That Jazz. By the time that ending rolls around after watching the movie proper, I was completely on board, to the point where I didn't want that final song to end. This movie stuck with me for days after my virgin watch. It's rare for a movie to so effectively blend the glitz, glamor, and showmanship of classic vaudeville Broadway with the deep, horrifying darkness that all of us carry, knowing death is waiting for us. Maybe we are waiting for it too, and constantly trying to stop ourselves from accepting the embrace of that beautiful, ethereal woman. The cinematography in this movie deserves special recognition, between the soft focus used expertly for scenes with Angelique, the use of mirrors, the surreal and nightmarish sets. Repeated shots give different meaning as the movie sweeps us forward with little time to orient ourselves, which fits perfectly in the chaos of the protagonist's life and mind. I can't give it a perfect score as we all know some of the dance numbers are quite long and hard to get through on repeated watches. Some of the pacing in the first half feels a bit slow as we build towards the chaos and emotion of the second half. Nonetheless, this is an extremely effective and unique movie that has instantly gone onto my list of favorites.

All That Jazz, Chicago and Cabaret are the Holy Trinity of modern musicals. They are Bob Fosse's gift to the world of cinema. Masterpieces all of them, they represent Fosse at the top of his form; changing the medium; pushing it forward. This one of the three is the most personal. It's Fosse's 8 1/2; and just like that movie most of the narrative takes the place of a confessional; him telling his life to his guardian angel. It's him reflecting on his life in fantastical musical form, and the meaning of life in general; as filtered through his jet-black, begloved, ironical sensibilities; and injected with his trademark sexiness and razzmatazz. It's an autobiographical docudrama, a self-reflection of all the tragedy, humor and failure in his life; just years before he died. (Ironically Fosse himself died in 1987; just a few years after this movie came out. And that's actually became part of the mythology of this iconic movie). Some people complained this movie was self-indulgent and one-note. The Fellini movie by comparison was poetic and sweet; it was wistful, with a light touch. This one can be seen as a heavy handed apologia; one self-indulgent tragic scene after the next. And yet the musical moments are some of the best movie musical numbers ever; particularly the stunning finale. It has Ben Vereen and Roy Scheider singing "Bye Bye Life"; (a bastardization of the Everly Brothers "Bye Bye Love). This number, and so many of the others are so powerful; they wipe most other musicals right off the screen; they are just stunning. Essential viewing for any fan of movie musicals. Highly Recommend.

Centered around a totally brilliant performance by Roy Scheider (he totally should have gotten the nod over Dustin Hoffman in Kramer), this semi-biographical story of the director, the incredible Bob Fosse, just makes me wonder why Fosse didn't direct more films when he had the chance. The film structuring, storyline, music and editing is nothing short of incredible. The introductions and the amazing ending are truly some of the best seen in 80s cinema.

Truly one of the most original musicals and a All Time Classic. Roy steals the show as a very likeable and charismatic narcissistic perfectionist making the acting phenomenal in this. the editing is brilliant along with extremely creative cinematography. The pacing is excellent also, never did I feel the film dragged with its story driven sequences. The songs are back loaded towards the end of the film which is really unique in my experience but there all extremely memorable, well choregraphed and tie in very creatively to the plot. Bye Bye Happiness is easily the highlight. And a very complex and creative narrative. One of the most creative musicals and movies in general I have ever seen and is a All Time Classic.

All this frenzy is so captivating and I cannot even explain it.

I can't remember any other time that I watched a movie, saw the credits roll, and then immediately restarted the film. Bob Fosse's brilliantly enchanting self-examination is unforgettable. The finale musical number is one of my favorite sequences in all of film. [early 2020]