All That Jazz: Death Drive, Erotic Airlines, and Bob Fosse

All That Jazz remains the last spectacular original movie musical—one not based on a previous Broadway songbook or a remake of an already adapted work. One truly innovative in its storytelling and scope, blending the stage with what filmmaking offers to creators as a medium, all the while playing out the death of one of the best to ever work in the musical biz. Long gone are the days of the cinematic MGM musicals, and by 1979, nearly all subsequent movie musicals had already been conceptualized for the stage in the decades prior, paving way for screen adaptations and riffs on beloved classics. Long live existing IP hell. 

Written and directed by legendary choreographer Bob Fosse, ‘70s Hollywood darling Roy Scheider plays Joe Gideon, the philandering, work-obsessed, chain smoking choreographer and director working on two major projects at once. As Gideon’s health begins to decline due to the stress of his workload, he continues to unabashedly engage in hedonistic behaviors and neglect his personal relationships, including his young daughter Michelle (Erzsebet Foldi). 

Fosse pulled from his own experience to write the film, specifically his time staging Chicago and editing his Cabaret follow-up Lenny in 1974, eventually suffering a heart attack and undergoing open-heart surgery after months of popping pills and ignoring symptoms. Per Vanity Fair, he still managed to keep up his sex life while recuperating in a hospital bed, which is even portrayed in All That Jazz as Gideon heals up after his coronary episode. All That Jazz comes together as an autobiography and death fantasy for Fosse, laying his immorality bare and showcasing the ways he failed those closest to him for the sake of his career—and libido. Leland Palmer plays a stand-in for Fosse’s estranged wife and working partner Gwen Verdon, with Ann Reinking essentially playing herself as Joe’s current partner Katie Jagger. It’s unbelievably bold to highlight all of your character failings and then slowly kill yourself off, but that’s Fosse. Self-indulgent? At times. Utterly devastating and a never-ending spectacle? Absolutely.  

Fosse layers visual and storytelling elements to build a death march of epic proportions, fit with self-degrading dream sequences and a meta comedy track about the stages of grief. Jessica Lange plays an angel of death, slowly luring Gideon into her arms, and All That Jazz culminates in one of the best swan songs put to film with its exuberance and catharsis. Unlike Cabaret, which uses the Kit Kat Klub to stage all of the musical’s songs, All That Jazz relies on more metaphysical elements to utilize storytelling elements beyond what can be delivered on a stage. There’s truly naturalistic moments, such as the charming living room dance performance by Michelle and Katie, then moments of high camp theatrics, like the unforgettable “Airotica” scene. Despite Fosse’s long history with the Broadway stage, he takes full advantage of the possibilities of film to create something that marries the two together remarkably. It still feels as lively and daring as it did 45 years ago, and has yet to be upstaged by a contemporary offering. With All That Jazz, Fosse not only created a pageant of his own death, but the glorious death of the original movie musical altogether. 

If you enjoyed this article, please consider becoming a patron of Hyperreal Film Journal for as low as $3 a month!