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After several years as the hottest musical director on Broadway, Bob Fosse made his film directorial debut with this movie version of his Broadway hit, which was based on Fellini's Nights of Cabiria. Shirley MacLaine is terrific as the proverbial hooker with the heart of gold, one who is convinced that she will find the right man if she just turns enough tricks. The Cy Coleman score is a solid one; the film is at its best when Fosse lets his cast of singer-dancers (which includes Chita Rivera, Paula Kelly, and Sammy Davis Jr.) unleash his leggy brand of choreography. While the film suffers from stylistic excesses of the period, you can see the seeds being planted for Fosse's future musical film forays in Cabaret and All That Jazz. -–Marshall Fine ... Read more

Reviews (31)

Shirley MacLaine in her greatest musical performance
This new DVD release of SWEET CHARITY is a welcome addition to any classic movie collection. Shirley MacLaine stars as Charity Hope Valentine in the celebrated film version of the Broadway hit.

Charity (Shirley MacLaine) works at the Fan Dango Ballroom, a dingy dime-a-dance hall where the girls give a lot more away than dances. Charity runs her heart like a hotel, and gives her love to one undeserving man after another. Her two best friends Nickie and Helene (Chita Rivera and Paula Kelly) are the ones who help Charity when she is ultimately betrayed by each boyfriend who comes into her life. Ever-hopeful (sometimes impossibly-so), Charity goes through life with wide eyes and wide dreams...

When Charity meets the mild-mannered Oscar Linquist (John McMartin re-creating his Broadway performance), she believes that she will finally be able to leave her sordid past and profession behind her. But will Oscar be as understanding?

Shirley MacLaine colors Charity more vividly than Broadway's Gwen Verdon did (or was permitted to do). MacLaine is especially affecting and heartbreaking in the final 15 minutes of the movie, and sings a plaintive "Where Am I Going?".

Bob Fosse's first big Hollywood film, SWEET CHARITY was a big, if not huge, success when it was first released. The choppy editing and artistic touches that audiences failed to appreciate then make much more sense now, following the success of MOULIN ROUGE. The impressive supporting cast includes Ricardo Montalban, Sammy Davis Jr. and Stubby Kaye.

This beautiful new Special Edition DVD presents the complete 'Road-Show' version of the film including Overture and Intermission. There are also many extras including the trailer, the original 'Making-of' featurette, a featurette where designer Edith Head takes us through her colorful costumes, and the alternate ending that was never used. (Single-sided, dual-layer disc).

You're gonna get up, get out, and buy it!!
I'm grateful for the comments before me which explain the enigma that is "Sweet Charity." It takes a book of a relatively sad, downtrodden character and turns it into a musical (and not a happy-go-lucky one either, as is often the assumption). The film comes at the start of the stylized, mod 70's- and while some of Fosse's visuals over-saturate this point, the story is so smart that it doesn't matter. (It was Fosse's first film direction and it has his signature all over it.) And I'm glad that the VHS presentation letterboxes the musical numbers, even if it standard-screens the nonmusical portions. There's no other way to view the dance hall girls sexily draped over the barre in "Hey, Big Spender," or the film's best number- the sensational rooftop dance "There's Gotta Be Something Better Than This." (This may be the most theatrical moment in the film as it allows pure, full-bodied dance by Shirley MacLaine, Chita Rivera, and Paula Kelly.) And those who generally dislike musicals would be surprised at the film's bittersweet ending; it's not entirely happy but it is completely triumphant, and it never ceases to bring tears (well, just one) to my eyes.

For Serious Fosse Fans Only
Ok, this movie is a clunker. The story doesn't hold up well in today's feminist or post-feminist era and MacLaine's performance made me cringe.

However, here's the great thing about DVD: use the scene selector to skip right to the fabulous dance numbers! "Rich Man's Frug" and "Hey Big Spender" are two of Fosse's best on film, and big enough that you'll want to watch them several times to catch all the details and dancers. And as a special treat to Fosse fans, the extras on the DVD include some brief segments with THE MAN himself.

Fosse newbies, skip right over this and go straight to CABARET which is a brilliant musical AND a brilliant film.

I'm amazed
I'm amazed that some studio gave Fosse the chance to direct again after this downright failure. I do have to give some of the blame (ok, most) to Shirley MacLaine who is annoying, needy, and badly acted/sung/danced. I want to sock her Charity in the nose almost ceaslessly.

The only let up from her killing the part are Fosse's dance numbers. "Rich Man's Frug" lives up to its reputation, and "Rhythem of Life" are amazing. ( My friend and I were ready to burn the tape we were watching, and then "Rhythem" came on. We stayed for the rest of the movie.) Fosse as a director also seems to care only when his signature dances, or any dances, come on. That's when the camera usage that one gets to know so well in Cabaret and All That Jazz come in. During the naratives, he seems bored with the story and doesn't put nearly enough energy into it. One is left waiting for the stars, (preferably not Ms. MacLaine) to sing and dance for all they're worth for all the movie. It is also too long. I felt the ending was not harsh enough to Ms. MacLaine's Charity. An STD would have satisfied me.

Such Fun
Shirley McCain is wonderful in this movie. Kudos to Gwen Verdon, but unlike many other movie versions or broadway shows, this movie has the ultimate actress for the role. She is strong, naive, vulnerable and eternally hopeful as well as charming.
In additions there are great musicall numbers, of which, Rich Man's Frug is the worth the price of the dvd or tape. ... Read more

Reviews (10)

Great for children. Good teamwork, environmental message.
My son ( 2 ) loves this movie. He will not sit through Lion King or other Disney movies but can watch this repeatedly. This is not a movie for adults -- it has a basic story line and simple dialogue. The background animation is wonderful.

Just one more cute 90's movie in the bin.
I've always felt the worst movies are the ones that could have been good but weren't. I liked this movie when it first came out because I was 9 and I enjoyed forest animal movies with good music. This movie did all that but unfortunatly it managed to do all of this without a decent story. It's just not a good movie and it really could have been better if it had better story telling. Sorry, can't recomend it.

So poorly mad even small children can't appreciate it.
This was the most boring and pointless children's animated movie I have ever had the misfortune of renting. The six and eight year-olds for whom I rented it were also bored by it. The plot and dialogue were simply terrible.
Just because a movie is made for children doesn't mean it can't have anything besides inane chatter. I strongly urge you not to purchase this movie.

Wonderful animated adventure
I loved this movie when I was younger (probably about 5 years old).I saw it in the theater, and I must admit a few parts were a little scary. It is a story about furlings who must travel to another meadow and find herbs to save their young friend's (Michelle) life. A truck carrying poisonous gas drove off the road and contaminated their forest. Michelle ran to find her parents and wound up deathly ill from the gas. On their journy to save their friend these three furlings meet many interesting characters (the birds are my favorite). It also has great music!

A sign that this movie is still just as entertaining to the new generation: My friend's four year old sister just watched it and she couldn't take her eyes off the screen until it was over (71 minutes).
Well that's all I have to say, except it is not a Disney movie, while it is very similar to Disney movies, it is actually made by Fox Video.
Another great movie is the Princess and the Goblin. I can't understand why these movies are so unknown, They are great. Some parts still make me laugh.
That's the end of my review, but if you want to know more about the movie you can read on. This is what the back of the box says:
"In this rousing, magical adventure filled with whimsy, laughter, and charm, a host of fun-loving characters takes you on an unforgettable journey in a land called Dapplewood. One day three Furling friends, Abigail the wood mouse, Edgar the mole and Russell the hedgehog, find their tranquil lives greatly disrupted. A chemical spill has destroyed Dapplewood and their young friend Michelle becomes seriously ill from the toxic fumes. Counting on their own ingenuity and the skills they learned from their teacher Cornelius, they take off on an exciting, but dangerous journey to find help for their friend. Their wisdom soon pays off and they set about to restore Dapplewood to its original splendor."

Once Upon a Forest is a wonderful movie and it should definately come out on DVD.

Great Movie--Please Release on DVD!
This is an awesome animated movie. It should be released on DVD. I have very fond memories of this from when i was a kid. ... Read more

Reviews (11)

alien filmed pulled off excellently...
no doubt, this is a terrifying film. it is very true to the "abduction-rules", (missing time, etc.) to me, this has to be one of the scariest movies ever made. it's pulled off very well, and the acting is very good, especially good,- considering it's budget. the scenes depicting the actual abductions are very realistic, or at least they seem to be real- (seeing as though i have never experienced one). overall this movie is very well done, and thought out, and i would 100% recommend it to anyone interested in the "abduction-phenomenon".

Intruders must go on DVD
This movie is the very best Alien abduction movie we have ever seen. It's very realistic and has a perfect timing for scenes (WHoaa the running little boy in the valley was good!) It's long, ok, but very worth it. Also it's not placable under SF/Action/Drama/horror or whatever. When it comes on DVD, I'll buy it!

Dan Curtis' INTRUDERS Must Be Released on DVD
Dan Curtis' INTRUDERS Must Be Released on DVD. Awesome movie alien movie INTRUDERS MUST COME TO DVD. MUST COME TO DVD. DVD. THIS AWESOME MOVIE MUST COME OUT ON DVD. DVD DVD DVD. Dan Curtis' INTRUDERS Must Be Released on DVD. Awesome movie alien movie INTRUDERS MUST COME TO DVD. MUST COME TO DVD. DVD. THIS AWESOME MOVIE MUST COME OUT ON DVD. DVD DVD DVD. Dan Curtis' INTRUDERS Must Be Released on DVD. Awesome movie alien movie INTRUDERS MUST COME TO DVD. MUST COME TO DVD. DVD. THIS AWESOME MOVIE MUST COME OUT ON DVD. DVD DVD DVD. Dan Curtis' INTRUDERS Must Be Released on DVD. Awesome movie alien movie INTRUDERS MUST COME TO DVD. MUST COME TO DVD. DVD. THIS AWESOME MOVIE MUST COME OUT ON DVD. DVD DVD DVD.

In Conclusion, INTRUDERS Must Be Released on DVD.

EXCEEDED MY EXPECTATIONS
Don't know much on the subject of aliens. Bought the tape because I'm a big Crenna fan and was out of the country when it was on TV. What an ENJOYABLE and CREEPY film from start to finish! Couldn't find fault in any cast member(even Steven Berkoff in a very over-the-top performance was wonderful!). Tight editing, score...well, everything. Thinking of some scenes give me chills even now (I'm with the rest of you guys re: the boy in the valley.....yikes!!)I agree it needs to be on DVD too. Guess I'd better buy a DVD player first, right?

Thank you!
It's good to hear that there are really people that are not infected by the flashy lights of Hollywood and are actually taking the time and effort to understand a movie. This movie is amazing.... Please make a DVD of it!! I beg you! ... Read more

Reviews (3)

The best SANTA I ever did see
This is the best Santa Claus I have ever seen. Are you sure Mr. Seidelman didn't go to North Pole and hire the real one?

Rediscover Christmas..
This movie explores the Christmas spirt and unconditional love through the eyes of a child, as he tries to get the one present that he truely wnts for Christmas.

hfd
100 ... Read more

Reviews (2)

Good solid film
Jesse Owens is a Hero.he stood Hate in the Face&Looked it down and was a Champion not only of Sport but of Human Rights.Dorian Harewood a Good Actor who i have seen in countless films does a solid job here.

Great story... is it all true?
I am a major fan of Jesse Owens, and this film is definitely for fans. Dorian Harewood portrays Jesse very well, but almost in a god-like perfection. Of course, biographies are supposed to emphasize good qualities, but this film leaves you wondering if Jesse Owens had any bad ones. Still a very good film, and an excellent way to introduce people who don't know about him to a great role model, a great athlete and world class human. ... Read more

Description

Music-based romantic drama about the late singer/songwriter Frankie Lymon, who was responsible for many hit records but whose self-destructive life ended early, with many relationships left unresolved.three women, each claiming to be his wife, each with ... Read more

Reviews (22)

Entertaining delight!
The filmmakers know you've heard this tale before - true life chronicle of a young singing star's rise and tragic fall - and so they wisely downplay the standard bio trappings and instead focus on a raucously entertaining ride through Frankie Lymon's woman troubles. The smart screenplay revolves around the court battle of Lymon's three wives (yes, three!) over song royalties, leading to vivid (and often humorously contradictory) flashbacks of their lives with the singer. Larenz Tate is magnetic playing the many different sides of the ever-changing lead character, but the film ultimately belongs to Halle Berry, Vivica A. Fox and Lela Rochon as the wives. Each is allowed to shine as the trio portrays 30 years of changes in the women's lives, with Fox drop-dead hilarious as the most outrageous of the three. There's beautifully detailed '60s-era cinematography, sets, costuming and musical numbers, plus a side-splitting turn by Miguel Nunez as a young Little Richard. Major issues (such as '60s race relations) are barely glanced at, but what this film lacks in depth, it makes up for ten-fold in entertainment value. A winner!

--------------------------------------------------------------------------------

I may be in the minority, because...
I really didn't care for this movie very much. It told you virtually nothing about young Frankie Lymon's career with the Teenagers, and the focus was on his three wives fighting over whom was most entitled to the small fortune he left behind when he died at age 26 of a heroin overdose in 1968. Instead of a true biography of this young man's tragic story, we got this.

"Why Do Fools Fall In Love?" never really gives you the reason why Lymon (played by the talented actor Larenz Tate) was so very important in the history of R&B/rock and roll. Ignoring the fact that he was the first teenaged idol of rock and roll (like the little Michael Jackson of his era) and was an influence on other groups that would come after his, in this film Frankie was overwhelmingly portrayed as nothing more than some '50s rock music has-been who was a bigamist and a drug addict. On top of that, the three actresses who played his wives (Halle Berry, Lela Rochon, Vivica A. Fox) got more screen time than Larenz Tate did, and was billed over him. Excuse me, but wasn't this film supposed to be Frankie's story? I was not interested in seeing a movie about his wives.

Tate did his best, and I had no problem with the rest of the cast...but the script was just not worthy of his talents. I gave it three stars for the musical performances, but I feel the definitive movie about Frankie's life has yet to be made.

Love is Blind and So Are the Women!
The title fits the movie's subject because these women were foolish to falll in love with him. Despite his early career in music and rise to fame, he was on a path to destruction, which he could have controlled. Frankie Lymon, lead singer for the group Frankie Lymon and the Teenagers, had the voice that made girls across America scream. But watching the movie, he was also selfish because he used his own members, who were also his friends to pursue a solo career; which was never achieved. He married Zora Taylor, a member of The Platters, Elizabeth Waters, and Emira Eagle; none of whom he divorced.
The movie got me to wonder if any of these women could see below the surface of this man. Why did they allow him to descend into drugs and self-loathing? If one really loves someone, they would either help them through or send them packing. It was obvious that he had them on a string. All three of them had to go to court to prove they were legally married to him and collect money from his estate. Unfortunately, the music industry wasn't as legally together as it is now. Therefore, any claim to what he sang is out of their reach.
Lymon's music still lives on as a reminder of the "good old days" when music wasn't sexually explicit and musicians could actually sing.

Frankie Lymon for Beginners
I never knew much about Frankie Lymon until I watched this movie. He was one of my father's favorites. This movie, while it did not cover everything and sometimes it was historically inaccurate, it gave a good review of Frankie's rise and fall as a doo-wop star. The acting by Halle Berry, Lorenz Tate, Vivica Fox, and Leah Rochon was superb!

Fools in Love-Great Acting
Didn't know much about Frankie, except that he was a bigamist. The acting is great! It is worth having in your library. ... Read more

Album Description

1995 reissue of the soundtrack to director Bob Fosse's acclaimed 1979 musical co-starring Roy Scheider and Jessica Lange. Ralph Burns arranged & conducted all 14 tracks, whichinclude performances by George Benson, Sandahl Bergman and Ben Vereen with Scheider. A Spectrum/ Karussell release. ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

Amazon.com

The award-winning HBO series Happily Ever After: Fairy Tales for Every Child provides updated cartoon versions of the classics that will hold your kids' attention without banging them on the head with themes. This very sweet version of Pinocchio features a star-studded voice cast, including Will Smith, Chris Rock, Charles S. Dutton, and Della Reese. Although this may make the take sound strictly African American, the spin is decidedly multicultural. Gepetto becomes "George" and Pinocchio, being "chips of pine and oak off the old block" is called "Pinoak." The big spin is on Pinocchio's insect friend, who in this version is a termite named "Woody," played with a rascally style well suited to Chris Rock. If the kid wants you to watch with him or her, you will surely enjoy watching Reese "do her thing," as she says, which is a nifty Motown number called "What's Right What's Wrong." Rock gets his chance to get down with a rap called "No Strings Attached," even if the accompanying break dance is ill served by the rudimentary drawings and movement of the characters. Older viewers may cringe at the crude animation, but it is totally appropriate for its intended audience. The villainy is very low-key so as not to disturb. And the time-honored theme that you can only be a real boy when you learn to tell the truth makes for a story that can only end "happily ever after." --Lloyd Chesley ... Read more

Reviews (1)

Wonderful
The celebrity cast, Della Reese, Will Smith & Chris Rock was great. My two year old sat thru the entire video & he never does that. The songs were beautiful & my kids loved it. Can't wait to see the others in the Happily Ever After series! ... Read more

Amazon.com

Choreographer-turned-director Bob Fosse (Cabaret, Lenny) turns the camera on himself in this nervy, sometimes unnerving 1979 feature, a nakedly autobiographical piece that veers from gritty drama to razzle-dazzle musical, allegory to satire. It's an indication of his bravura, and possibly his self-absorption, that Fosse (who also cowrote the script) literally opens alter ego Joe Gideon's heart in a key scene--an unflinching glimpse of cardiac surgery, shot during an actual open-heart procedure.

Roy Scheider makes a brave and largely successful leap out of his usual romantic lead roles to step into Gideon's dancing pumps, and supplies a plausible sketch of an extravagant, self-destructive, self-loathing creative dynamo, while Jessica Lange serves as a largely allegorical Muse, one of the various women that the philandering Gideon pursues (and usually abandons). Gideon's other romantic partners include Fosse's own protégé (and a major keeper of his choreographic style since hisdeath), Ann Reinking, whose leggy grace is seductive both "onstage" and off.

Fosse/Gideon's collision course with mortality, as well as his priapic obsession with the opposite sex, may offer clues into the libidinal core of the choreographer's dynamic, sexualized style of dance, but musical aficionados will be forgiven for fast-forwarding to cut out the self-analysis and focus on the music, period. At its best--as in the knockout opening, scored to George Benson's strutting version of "On Broadway," which fuses music, dance, and dazzling camera work into a paean to Fosse's hoofer nation--All That Jazz offers a sequence of classic Fosse numbers, hard-edged, caustic, and joyously physical. --Sam Sutherland ... Read more

Reviews (87)

FOSSE ON FOSSE
With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.

FLAWED, WEAK TRANSFER of a THOROUGHLY ENGROSSING FILM
"All That Jazz" is a semi-autobiographical recounting of Bob Fosse's life. Directed by the master himself, the film follows Broadway producer, Joe Gideon (Roy Scheider)as he spirals into an oblivion of drug addiction, alcoholism and womanizing while preparing to launch his greatest show yet. Joe is ably pushed to the edge of the great beyond by the lovely Angel of Death (Jessica Lange)who eventually gets her wish. This is perhaps the only time in my viewing experience that a musical film has given me chills. The entire plot functions on the mental anguish of its protagonist and his inevitable demise and the final few moments are truly unsettling.
So is FOX's DVD transfer quality; the image suffers from dated - often muddy - colors, washed out and pasty flesh tones, weak blacks, an excessive amount of film grain and various age related artifacts that generally detract from the visual experience. Edge enhancement and pixelization are big problems in certain scenes but others appear to be free of their frustrating inclusion. The soundtrack is Stereo Surround, well balanced though, on occasion, strident.
EXTRAS: An interview with Scheider while he was making the film that is needlessly divided into chapter stops that don't matter. Ditto for several snippets of Fosse at work on the set. The theatrical trailer is also included.
BOTTOM LINE: If you simply can't live without this film - as I could not (for its brilliant story telling vision and disconcerted charm)then I recommend it highly. The transfer, however, will disappoint - especially for a film of seventies vintage!

A visual feast even for an only lukewarm fan of Broadway
Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is.

Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical.

Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange.

The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.")

Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition.

Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"

THE JAZZY, SNAZZY, MORBID UNDERBELLY OF SHOWBIZ
What a dazzlingly engaging experimentation with the medium of film as we take an evocative peep into the life of a showbiz-obsessed director Fosse -- the hedonistic man behind the actual stage version of "Chicago."

Apart from being a truly sexy turn-on of a musical, it hits one out of the park as an exploration of an artist at war with himself. Somewhat indulgent, yes, but it is the brutally honest potrayal of the many imperfections (girls, gin, glitz) of a perfectionist, in all his triumphs and trials, that makes this film a very, very endearing experience.

The bleak undertones may scare the faint-hearted but for them there's all the riveting stage action. A wholesome film that belongs in your own collections, not just in your Blockbuster records.

Narcissism On Center Stage
The whole point of the movie is Fosse is a narcissistic (...)and freely admits it. He revels in it. His attitude is not "do or don't do what I do" but, rather, I don't care what you or anyone else does because I'm special and you aren't. Sort of a Barry Bonds of the dance world. Fosse sees the Broadway dance musicals business as fake and silly. Actually, he is the one who is fake and silly and, like all narcissists, in his heart of hearts, he knows it. A rollercoaster ride of drug and alcohol binges and loud garish dance nuumbers. Brilliantly conceived and excellently acted by scheider. ... Read more

Description

The electricity of one of Broadway's greatest talents springs to life in Fosse, a tribute to the man behind such favorites as Cabaret, Chicago, Sweet Charity, and Pippin. A seductive mixture of physically aggressive dance moves and dazzling visual style, Bob Fosse's approach to theater revolutionized how we experience music and dance, while his mixture of cynicism and sentiment remains timely decades after his death. Join one of Fosse's most gifted collaborators, Ann Reinking, as she and a wild, gyrating cast take you through such memorable standards as "Life Is Just a Bowl of Cherries," "Steam Heat," "Mein Herr," and the unforgettable "Big Spender." So pull up a seat, put on your dancin' shoes, and get ready for a tune-studded show guaranteed to deliver plenty of "Razzle Dazzle!" Songs: Life Is a Bowl of Cherries, Bye Bye Blackbird, From the Edge, Percussion 4, Big Spender, Crunchy Granola Suite, From This Moment On, Transition/Dance Elements, I Wanna Be a Dancin' Man, Shoeless Joe Ballet, Dancing in the Dark, Steam Heat, I Gotcha, Rich Man's Frug, Silly Thoughts, Cool Hand Luke, Nowadays, The Hot Honey Rag, Glory, Manson Trio, Mein Herr, Take Off with Us/Three Pas de Deux, Razzle Dazzle, Who's Sorry Now, There'll Be Some Changes Made, Mr. Bojangles, Life Is Just a Bowl of Cherries (reprise), Sing Sing Sing. 118 minutes. ... Read more

Reviews (36)

And that's showbiz, baby!
This happens to be one of PBS' Great Performances Dance in America series' greatest realizations of a Broadway show and, more importantly, I think one of the most significant documentations of Bob Fosse's choreographic cannon.

Here you have the authority of Ben Vereen and Ann Reinking peforming in or recreating some of their original stage numbers. One of the reasons I wanted to see this show was to see Vereen recreate the "Glory" number from Pippin. Vereen sings "Life Is Just a Bowl of Cherries" - a favorite song of Fosse's from Dancin' - imbuing an added level of relevance for anyone who knows Vereen's life and career. Vereen and Reinking bring to this performance a certain history and magic, a passing on of the tradition. It is moving to see them pass it on to a new generation of Broadway dancers. This is a great cast of dancer/singers. To name a few - Rachel Rak's powerhouse sexy performance of "I Gotcha", Brad Anderson's athletic grace and angelic voice, and Ken Allen's dead on precision stands out in every number.

And the evolution of Fosse's choreographic language becomes striking seen in this context, from increasingly jazz-influenced style of "Shoeless Joe" and "Steam Heat" of the 50s to the vaudeville of the Chicago, Liza with a Z and "I Want to Be a Dancin' Man" numbers. And who can resist "Big Spender" and "Rich Man's Frug"? "Repetitive", one reviewer here claims. Yeah, and Martha Graham, Jerome Robbins and George Balanchine were accused of being "repetitive" in their vocabulary.

"Fosse" also includes interviews with Vereen and Reinking that give insight into how Bob Fosse and his choreography attained the relevance this show displays. Reinking states that Fosse took every member of the ensemble seriously, as a character and not just a background dancer. She describes a dancer who, after working on a number all day, muttered "again?" when asked by Fosse to rehearse further. That unfortunate dancer was soon looking for another job. This tells you something of Fosse's perfectionism. "That's what I would like anybody to feel [seeing this show]", Reinking states, "even just a breath of someone's dedication and passion".

Complain? Name me another film or television document to capture the American musical theatre in recent years. Along with 1990 documentary on Fosse, "Steam Heat", by Dance in America, this will be one of the greatest records of the genius of Bob Fosse. Except for the record of numbers Fosse choreographed for films and television, this is the only record of so many Broadway numbers fans and scholars will be able to rely on in future. And what a wonderful thing to have. I'm giving "Fosse" to all my friends who love the American musical theatre. It's a blast to watch all of these numbers again, and I know they will LOVE it.

And all that jazz...
It's an unfortunate rule of thumb that by the time an enterprising producer gets around to filming a Broadway play or musical, the show has neared the end of its run. Usually, that means performers who are tired, sometimes visibly bored, or perhaps suffering from vocal problems. Unfortunately, FOSSE is no exception to either the rule or the usual consequences thereof. Nor, in this instance, did the producers help matters by reshaping the show around Ben Vereen. Now in his mid-50s, Vereen has lost nearly all of the technical virtues--the strikingly fluid hips, high extension, and apparent weightlessness--that made him one of the quintessential male Fosse dancers. While still a charismatic stage presence and reasonably strong singer, Vereen's performance here is painful to anyone who has recently watched PIPPIN, ALL THAT JAZZ, or the recently released SWEET CHARITY.

The rest of the cast, while reasonably energetic, often lacks both definition and expression. There are some elegant and technically assured performances scattered throughout, most notably from Ken Alan, Shirley Maclaine look-alike Meg Gillentine, Edwaard Liang, and Fosse veteran Dana Moore. The vocals, alas, are usually weak--most annoyingly so in "Crunchy Vanilla Suite," where the two male singers can barely be heard, let alone understood. (Gillentine is probably the evening's strongest singer.) As a general rule, the dancing appears at its best in small-scale numbers like "Steam Heat" or "Cool Hand Luke"; the big ensemble pieces are often weak, with dancers falling out of sync or "softening" the choreography. The most notable offender is probably "The Rich Man's Frug": most of the male dancers don't bother to "hinge" forward; dancers keep their knees straight when they should be in demi-plie; the isolations, well, aren't; and the arms are sloppy (especially in the punching train that concludes "The Heavyweight"). Rather better are the "Shoeless Joe Ballet" and "Sing! Sing! Sing!" The widescreen picture is crisp, although the director's choices are not necessarily what they should be.

Despite its flaws, however, musical theater aficionados will no doubt want to add this DVD to their collection.

Hit and Miss
Those familiar with Mr. Fosse and his work within the scope of musical theater know that the brilliance of Fosse's choreography was that it fit seamlessly within the context of the musical. In other words, the action didn't stop just to accomodate a dance number. Instead, the dance propelled the storyline forward. Taken out of the musical and put into a revue, the dances are still wonderful, but some hit the target while others merely come close.

Having Ann Reinking and Ben Vereen in the show is a huge plus. Although they are no longer in their prime, they were Fosse's favorites and bring a wonderful nostalgia to the show. Every time I see Mr. Vereen do "Mr Bojangles," I tear up. I would have liked to have seen Ms. Reinking do a little more, but I admire the fact that she knows what she is capable of and performs accordingly. Their interviews add a nostalgic touch.

As for the rest of the cast, there is no question as to how talented they are and when numbers don't quite work, it isn't through any fault of the ensemble. Particular standouts are "Sing, Sing, Sing" featuring the phenominal Dylis Croman on the trumpet solo (originally performed by Ann Reinking), "Bye, Bye Blackbird," "I Wanna Be a Dancin' Man," "Crunchy Granola Suite" and "From the Edge." Strangely enough, all of these numbers were from revue-type shows and not taken from musicals.

The misses, while still brilliant dances, are the ones that are out-of-context. Everything from the movie All That Jazz, especially "Take off with Us," falls flat. "Glory/Manson Trio," while interesting to see Mr. Vereen dance it 20 years later, makes no sense when taken out of Pippin. And I will never understand why they included "Razzle Dazzle" in this show and not "All that Jazz," but they did.

All in all, this is an incredibly entertaining DVD and the cast is top notch. Thank you to Ann Reinking and the late Gwen Verdon for keeping Bob Fosse's spirit alive and introducing him to a new generation of dancers.

I thought I knew who Bob Fosse was.
I am a musical theater fanatic, and so when I was in my first play, Damn Yankees, I was introduced to the choreography of Bob Fosse.
I loved what he did with Gwen Verdon in the film version, her "Lola" dance was a riot to behold. I also loved "Two Lost Souls", Bob Fosse really added a mood to that number.
Neither of those dance numbers are found in here.

I decided I would see Cabaret, the film, which is raunchy, but I thought I could handle it, and handle it I did.
The dancing in Cabaret is really cool, espesialy Mein Heir and Wilkomen, however, only Mein Heir was in the film version of Fosse, and it was not even the original dance, it was a remake, a sloppy, lousy, extremely slow, remake.

Ann Reinkin and Benn Veiring are a lousy addition to this film. They are good for the documentary parts, but this isn't supposed to be a documentary, its supposed to be a dance show, not a talk show.

Why didn't they put the dance on one side of the disk and the documentary on the other side?

The song and dance, "Steam Heat", from The Pajama Game, is on here, but it is a complete disaster.

The singing in this film stinks. "But they are dancers" you say, I know they are dancers! But don't you think they could find ones who could sing? Is that too much to ask?
No it isn't.

Besides the two oldies, Benn and Anne, messing things up, and the lack of vocal talent, and in most cases, dancing talent, there is still more aspects of this film to disturb you.

I thought that even though Fosse's numbers were on the risque side, that they would be ok for my kids to watch, since they are not in the context of a nasty story line, such as the numbers from Cabaret, and since I thought the costumes would be risque, but within reason, like in the Cabaret. Well, the costumes in Mein Heir, among half of the other numbers in this production, are next to nothing, either the ladies legs are bare clear up to their ribs, or something worse, as we see in this new version of Mein Heir, thongs and so forth.

Still, a bigger suprise awaited me,
Three girls and three guys all walk out onto the stage, the guys in black speedos, and the girls in skimpy underwear. So one of the girls and one of the guys start to dance in the middle of the stage, in an extremely, extremely suggestive manner, wearing almost nothing. Now as if this wasn't disgusting enough, then the two guys starting dancing together, with each other, and then the two girls start to dance with each other.
!!!!!!!!!!!!!!!!!!!!!!!
I didn't want this crap in the heads of my children, and I didn't want it in my head either.
So I didn't even wait to see how much worse this dance would get, I took the disc out of the DVD player, scratched it to bits, explained to my children that it was a filthy and lewed show, that I did not want it in our familiy's home, and I threw it away.

So even though I spent three of my theatrical years dancing some of Bob Fosse's better dances, which were great dances,
I do not care,
this DVD is not worth owning.
The dances that are not dirty, are lousy,
and even if the show was executed with great talent and flare, it doesn't matter to me,
it is not worth the owning because of its lack of dignity and respect for the human race.

I recomend, instead of this film, the origional Bob Fosse films. The Pajama Game is a must own, simply because of Steam Heat, then there is his Damn Yankees, and so fourth. Get his numbers this way, that way the dances are done well, and you can be selective.
Although I do not recomend All That Jazz, it is even worse than this production.

Fosse
Fosse is a truely magical musical revue highlighting all our Bob Fosse favorites from Damn Yankees in the 50s through Big Deal in the 80s. Ben Vareen leads and all star cast of Broadway veterans like Dana Moore, as well as new talent like Meg Gillentine and Rachelle Rak. The dancing is of course phenominal with Ken Alan and Edward Liang leading an all-star cast of dancers. Fosse godess Ann Reinking's re-creation of Fosse's original choregraphy captures that sense of vibration and sensuality so important to his shows. My only complaints: 1. During some spots, the dancing isn't sharp and crisp and the movement isn't together. 2. Ann Reinking should sing and dance more. Some memorable numbers include Steam Heat, I Gotcha, Big Spender, Mr. Bojangles, Mein Herr, Cool Hand Luke, Nowadays, Rich Man's Frug, and Sing, Sing, Sing. ... Read more

Amazon.com essential video

When Barbra Streisand played Fanny Brice in Funny Girl, she brought to life a sympathetic yet strong-headed performer of stage and radio. In the sequel, Funny Lady, Brice comes off as a harsher woman, slightly bitchy, without the tremendous charm she possessed in the first film. Herbert Ross takes over as director (William Wyler oversaw Funny Girl), and the film just seems to get away from him. This sequel picks up during the Great Depression, when even the great star Fanny Brice is suffering. Along comes Billy Rose (James Caan), a small-time hustler who's out to make it big in show biz.The two pair up, both professionally and romantically, although things are uncertain when her first husband, Nick Arnstein (Omar Sharif), reappears on the scene. Much to the movie's detriment, Funny Lady concentrates more on Brice's professional life than on her personal life, as the first film does. The songs are elaborately staged numbers that Brice performs in the theaters, and while they are visually lush and spectacular, they lack conviction. Caan is solid in his role as the bumbling producer, but overall, the film is a disappointment. If you want more Barbra and Brice, rewatch Funny Girl. --Jenny Brown ... Read more

Reviews (32)

Why, Barbra? Why??
This is a disjointed, embarrassing, histrionic hodge-podge of a movie that never comes anywhere near to capturing the magnificent La Streisand's glory days of 'Hello, Dolly!' and the sublime 'Funny Girl'.

There are several reasons for this, though none are to do with the performances given by the leads; Streisand reprising her role as Fanny Brice does what she can with a truly lousy script, ditto James Caan as her hapless second Husband, Billy Rose.

Why 'Funny Girl' fails so badly is the fact that it seems to have had eighteen different writers, producers and directors working on the project at any one time. At one point, early on in the movie, Fanny complains of Rose's show that 'the whole damn thing is overproduced' - ironically, a metaphor for 'Funny Lady' itself. Musical numbers are shockingly produced - 'Clap Hands, Here Comes Charley' looks and sounds like a singer in great pain, while Barbra's showcase songs 'Great Day' (embarrasingly racist) and 'Let's Hear it for Me', while beautifully performed, are hideously shambolic mish-mash affairs of direction and choreography, or lack thereof.

The script, too, is second-rate. Why is Fanny a big bee-yotch all of a sudden? When did the hard-nosed businesswoman come along to replace the sweet, funny Fanny of the previous movie? She's too mercenary now, all shares and profits, and her femininity doesn;t really begin to show until the 'Isn't This Better?' moment (a beautiful song, and an even better performance), but this is towards the film's end, and by that stage we're just plain tired of Bitter Barbra.

Bearing little to no resemblance to its predecessor, 'Funny Lady' is a terribly poorly-produced movie, full of beautiful songs and really awful visuals. Buy the soundtrack instead.

An entertaining album of standards and original songs.
The 1975 sequel to "Funny Girl" in which Barbra Streisand made her screen debut, "Funny Lady" boasts a soundtrack with standards and newly-written tunes by Kander and Ebb. With her voice at its peak, Barbra Streisand interprets this grab-bag of songs with great verve and tenderness, mixing feeling with meaning. Whether Fanny Brice is onstage doing her Yiddish shtick in "Blind Date" or contemplating her emotional relationship with Billy Rose (James Caan) in "Isn't This Better?", the songs hit the right note. What's entertaining about this album is the vividness of the performances not only by Streisand, but also by James Caan and Ben Vereen; the listener can enjoy the songs without having seen the film. If you like melodies, bravura dramatic singing and comedy numbers, this is the album for you! Close your eyes and you'll be back in the good old days when the songs were part of the film's story, not just an excuse for a soundtrack.

ADORABLE! I LOVE IT!!
This is a fabulous movie. I still think "Funny Girl" is better, but I adore this film. One of Ms. Streisand's best! "FIVE STARS!"- Naomi Judd, "Star Search"

"See, Billy, in a tutu, I can be funny."
The 1968 film version of FUNNY GIRL was an absolute masterpiece, and as perfect as a musical-comedy film can be. A sequel to this classic was not something that was ever needed to be made, but since the original was so successful (FUNNY GIRL was the highest-grossing film of 1968) and well-loved, it was pretty obvious why producer Ray Stark wanted to make this follow-up so badly. It took awhile, but he eventually convinced Streisand to sign on and reprise her role as Fanny Brice, with Herbert Ross (who had staged the musical numbers in the original film and had directed Streisand in the box office hit THE OWL AND THE PUSSYCAT) set to direct. Although the film was generally well-received by most critics and proved to be another big box office hit, many fans of the sweet-natured original did not care for the slightly more harsh and cynical tone of this follow-up, and it has since fallen out of favor with many Streisand fans.

While no film could ever recapture the easy charm and beautiful sentiment of FUNNY GIRL, FUNNY LADY is highly entertaining when viewed on it's own terms. Streisand plays the now-hard-bitten Fanny with a depth and maturity that is very different from her characterization in the first film, but almost equally as stunning. Many viewers often complain that James Caan was badly miscast as Billy Rose. While Caan is physically wrong for the role of the short, unattractive Rose, he still comes across as oddly likable, and he has a nice comic chemistry with Streisand. Roddy McDowell is fun as Fanny's assistant, and veteran hoofer Ben Vereen brings down the house with a incredible, almost gravity-defying dance routine. Omar Shariff also returns for two very effective scenes as Nick Arnstein, the man Fanny will always love, but can't seem to live with.

Though Streisand is in terrific singing voice, the song score is a bit more hit-and-miss. The period standards that Streisand vividly performs (particularly the bittersweet "More Than You Know," the gospel-infused "Great Day," and the heart-wrenching "If I Love Again") are absolutely fantastic, however, the heavily-promoted original songs from Cabaret composers Kander and Ebb are a major disappointment. The intended show-stopper "How Lucky Can You Get" is fine number that is made memorable by Streisand's scorching performance, however, the remainder of the original songs ("Blind Date," "Let's Here It For Me") are pretty forgettable despite Streisand's impassioned vocals. Fortunately, these few mediocre numbers (and the rather predictable narrative) are flaws that are very easy to forgive. No, FUNNY LADY doesn't hold a candle to FNNY GIRL, but the film remains a fun and enjoyable ride that should entertain those who loved the original.

About the DVD: The picture quality is excellent - a bit more edge enhancement than there was the FUNNY GIRL DVD, but still great. The sound is also terrific, but I wish Columbia would have at least included the film's original trailer.

A Worthy and Cruelly Underappreciated Sequel
After reading so many negative reviews of this movie, I was surprised to find that I actually loved it. To refute:

She is bitchy because she has been bruised. Notice upon another rewatching of "Funny Girl" how Fanny slowly but surely learns to cover up her pain and anguish through her constant performativity. Whatever innocence was left in her is gone after Nick walked out the door. "Funny Lady" is a worthy sequel because, psychologically, it starts where the last movie leaves off. Fanny must learn to love again. The reason you don't see "sweet Barbra" until the train sequence is because the movie is ABOUT the re-emergence of the sincere woman.

Pay attention to the kinds of lines the writers of both "Funny Girl" and "Funny Lady" give to Fanny Brice. This is the same woman. Only older. Wiser. More bruised. And to those of you who call the movie "cliché," I wonder if you missed the ending.

Is the movie overproduced? Yes. Is it poorly written? No. I would argue that this movie very nearly merits its original in quality, but because it very sincerely tackles the problems of maturity, the problem of Life After Love, its themes may be too complex for those looking only for another tragic love story.

As someone who knows the power of First Love, I found this movie honest and moving, worthy in nearly every way to its prequel, and though there's not enough room in this space to defend it fully, I count myself among those prepared to do so.

The DVD gets four stars because there are no special features. ... Read more

Reviews (32)

Why, Barbra? Why??
This is a disjointed, embarrassing, histrionic hodge-podge of a movie that never comes anywhere near to capturing the magnificent La Streisand's glory days of 'Hello, Dolly!' and the sublime 'Funny Girl'.

There are several reasons for this, though none are to do with the performances given by the leads; Streisand reprising her role as Fanny Brice does what she can with a truly lousy script, ditto James Caan as her hapless second Husband, Billy Rose.

Why 'Funny Girl' fails so badly is the fact that it seems to have had eighteen different writers, producers and directors working on the project at any one time. At one point, early on in the movie, Fanny complains of Rose's show that 'the whole damn thing is overproduced' - ironically, a metaphor for 'Funny Lady' itself. Musical numbers are shockingly produced - 'Clap Hands, Here Comes Charley' looks and sounds like a singer in great pain, while Barbra's showcase songs 'Great Day' (embarrasingly racist) and 'Let's Hear it for Me', while beautifully performed, are hideously shambolic mish-mash affairs of direction and choreography, or lack thereof.

The script, too, is second-rate. Why is Fanny a big bee-yotch all of a sudden? When did the hard-nosed businesswoman come along to replace the sweet, funny Fanny of the previous movie? She's too mercenary now, all shares and profits, and her femininity doesn;t really begin to show until the 'Isn't This Better?' moment (a beautiful song, and an even better performance), but this is towards the film's end, and by that stage we're just plain tired of Bitter Barbra.

Bearing little to no resemblance to its predecessor, 'Funny Lady' is a terribly poorly-produced movie, full of beautiful songs and really awful visuals. Buy the soundtrack instead.

An entertaining album of standards and original songs.
The 1975 sequel to "Funny Girl" in which Barbra Streisand made her screen debut, "Funny Lady" boasts a soundtrack with standards and newly-written tunes by Kander and Ebb. With her voice at its peak, Barbra Streisand interprets this grab-bag of songs with great verve and tenderness, mixing feeling with meaning. Whether Fanny Brice is onstage doing her Yiddish shtick in "Blind Date" or contemplating her emotional relationship with Billy Rose (James Caan) in "Isn't This Better?", the songs hit the right note. What's entertaining about this album is the vividness of the performances not only by Streisand, but also by James Caan and Ben Vereen; the listener can enjoy the songs without having seen the film. If you like melodies, bravura dramatic singing and comedy numbers, this is the album for you! Close your eyes and you'll be back in the good old days when the songs were part of the film's story, not just an excuse for a soundtrack.

ADORABLE! I LOVE IT!!
This is a fabulous movie. I still think "Funny Girl" is better, but I adore this film. One of Ms. Streisand's best! "FIVE STARS!"- Naomi Judd, "Star Search"

"See, Billy, in a tutu, I can be funny."
The 1968 film version of FUNNY GIRL was an absolute masterpiece, and as perfect as a musical-comedy film can be. A sequel to this classic was not something that was ever needed to be made, but since the original was so successful (FUNNY GIRL was the highest-grossing film of 1968) and well-loved, it was pretty obvious why producer Ray Stark wanted to make this follow-up so badly. It took awhile, but he eventually convinced Streisand to sign on and reprise her role as Fanny Brice, with Herbert Ross (who had staged the musical numbers in the original film and had directed Streisand in the box office hit THE OWL AND THE PUSSYCAT) set to direct. Although the film was generally well-received by most critics and proved to be another big box office hit, many fans of the sweet-natured original did not care for the slightly more harsh and cynical tone of this follow-up, and it has since fallen out of favor with many Streisand fans.

While no film could ever recapture the easy charm and beautiful sentiment of FUNNY GIRL, FUNNY LADY is highly entertaining when viewed on it's own terms. Streisand plays the now-hard-bitten Fanny with a depth and maturity that is very different from her characterization in the first film, but almost equally as stunning. Many viewers often complain that James Caan was badly miscast as Billy Rose. While Caan is physically wrong for the role of the short, unattractive Rose, he still comes across as oddly likable, and he has a nice comic chemistry with Streisand. Roddy McDowell is fun as Fanny's assistant, and veteran hoofer Ben Vereen brings down the house with a incredible, almost gravity-defying dance routine. Omar Shariff also returns for two very effective scenes as Nick Arnstein, the man Fanny will always love, but can't seem to live with.

Though Streisand is in terrific singing voice, the song score is a bit more hit-and-miss. The period standards that Streisand vividly performs (particularly the bittersweet "More Than You Know," the gospel-infused "Great Day," and the heart-wrenching "If I Love Again") are absolutely fantastic, however, the heavily-promoted original songs from Cabaret composers Kander and Ebb are a major disappointment. The intended show-stopper "How Lucky Can You Get" is fine number that is made memorable by Streisand's scorching performance, however, the remainder of the original songs ("Blind Date," "Let's Here It For Me") are pretty forgettable despite Streisand's impassioned vocals. Fortunately, these few mediocre numbers (and the rather predictable narrative) are flaws that are very easy to forgive. No, FUNNY LADY doesn't hold a candle to FNNY GIRL, but the film remains a fun and enjoyable ride that should entertain those who loved the original.

About the DVD: The picture quality is excellent - a bit more edge enhancement than there was the FUNNY GIRL DVD, but still great. The sound is also terrific, but I wish Columbia would have at least included the film's original trailer.

A Worthy and Cruelly Underappreciated Sequel
After reading so many negative reviews of this movie, I was surprised to find that I actually loved it. To refute:

She is bitchy because she has been bruised. Notice upon another rewatching of "Funny Girl" how Fanny slowly but surely learns to cover up her pain and anguish through her constant performativity. Whatever innocence was left in her is gone after Nick walked out the door. "Funny Lady" is a worthy sequel because, psychologically, it starts where the last movie leaves off. Fanny must learn to love again. The reason you don't see "sweet Barbra" until the train sequence is because the movie is ABOUT the re-emergence of the sincere woman.

Pay attention to the kinds of lines the writers of both "Funny Girl" and "Funny Lady" give to Fanny Brice. This is the same woman. Only older. Wiser. More bruised. And to those of you who call the movie "cliché," I wonder if you missed the ending.

Is the movie overproduced? Yes. Is it poorly written? No. I would argue that this movie very nearly merits its original in quality, but because it very sincerely tackles the problems of maturity, the problem of Life After Love, its themes may be too complex for those looking only for another tragic love story.

As someone who knows the power of First Love, I found this movie honest and moving, worthy in nearly every way to its prequel, and though there's not enough room in this space to defend it fully, I count myself among those prepared to do so.

The DVD gets four stars because there are no special features. ... Read more

Reviews (2)

Good solid film
Jesse Owens is a Hero.he stood Hate in the Face&Looked it down and was a Champion not only of Sport but of Human Rights.Dorian Harewood a Good Actor who i have seen in countless films does a solid job here.

Great story... is it all true?
I am a major fan of Jesse Owens, and this film is definitely for fans. Dorian Harewood portrays Jesse very well, but almost in a god-like perfection. Of course, biographies are supposed to emphasize good qualities, but this film leaves you wondering if Jesse Owens had any bad ones. Still a very good film, and an excellent way to introduce people who don't know about him to a great role model, a great athlete and world class human. ... Read more

Reviews (1)

MY FAVORITE ACTRESS IS TIFFANY HELM
My favorite actress is the very beautiful Tiffany Helm. She is the star of this movie and it's her only starring role in her whole career. The film itself is funny, silly, entertaining and well acted. It is a "piece of nostalgia from the better times". It is supposed to be coming out on DVD from Anchor Bay Entertainment, but it hasn't been released yet. Tiffany and the whole entire cast did a very good job on this film. This VHS is a must for fans of Tiffany Helm and or Jason Gedrick. ... Read more

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Creativity oozes from this rollicking rhymefest, an animated retellingof some well-loved classic nursery rhymes. The 30-minute rappin' romp is part ofthe Happily Ever After: Fairy Tales for Every Child series. A star-studded cast of celebrities lend their voices, including Whoopi Goldberg, JimmySmits, and Denzel Washington. The merriment takes place in Mother GoosebergLand, where Old King Cole reigns over the likes of Little Miss Muffet, GeorgiePorgie, and the rest of the gang who take their poetic direction from the granddame of rhyme herself, Mother Gooseberg. Yet all is not well in the land ofmake-believe. Seems that Mother Gooseberg wants to retire from her life ofrhyme, due to a litany of complaints from the villagers. Jack is upset becauseof repeated head injuries from falling down the hill (he laments, "When Jill andI fall down the hill, look what happens to our medical bill"). The Crooked Manwants to straighten up, and Little Bo Peep has grown indifferent toward lostsheep. Add to that King Cole's distress when Mother Gooseberg suddenly calls amoratorium on rhyming--"For a kingdom used to rhyming in verse, the situation isgrowing worse!" he cries.

Kudos to the film's producers for representingseveral races and cultures through its animated characters. And while kids willbe captivated by the fast-moving tale, adults will smile at the clever humordirected at them, such as when Humpty Dumpty proclaims his name change to "TheEgg Formerly Known as Dumpty." (Ages 3 and older) --Lynn Gibson ... Read more

Reviews (3)

Waiting Happily Ever After..
This was a gift for my three year old nephew, who has a great attention span for videos. He sat through a portion of the tape, looked at me and said..."I don't get it". Neither did I at first (I wasn't exactly jumping out my seat). I think it was to many stories tied into one for a three year old. We'll shelf it for now and give it ago at four. Otherwise, the series is a wonderful twist to nursey rhymes!!!

One of the best.....
This is one of the best videos I have purchased for my child, age 2 1/2 years old. Not only does it entertain her; it teaches nursery rhymes. My husband and I enjoy it so that it's become a favorite when other adults come over. It's a must have for any child in this age of rap music. It's rap in a positive way.

New Twist On Old Stories
This tape took me a minute to get it but once I did, it was really, really cute. The voices of Whoppie Goldberg, Jimmy Smits & other