Reviews (89)

Life is a cabaret, old chum...
It's often been said about old musical movies that they went too far in the conceit of people "bursting out in song" during a scene. Well, in his film version of Kander & Ebb's masterful Cabaret, Bob Fosse completely got around that problem by presenting the songs on stage. It was handled brilliantly, the choreography was incredible, and the movie just plain works.

Cabaret the movie doesn't share many songs in common with the original stage version - it still has "Willkommen," "Two Ladies," "Tomorrow Belongs To Me," a German version of "Married," "If You Could See Her," and "Cabaret" - but that's it. A few new songs were added - "Mein Herr," "Maybe This Time," "Money, Money," - but for the most part it's a lot less sung than the staged version. A lot of musical numbers dealing with the world outside the Kit Kat Klub were used as underscoring, preserving John Kander's great tunes. But this doesn't detract from it being one of the best filmed musicals out there.

Fosse's direction is a big help; it has a great eye for early 1930s Berlin, and presents the decadence and foreshadows the Nazis brilliantly. Fosse created great, sensual choreography for the film, and it is completely entrancing to watch the musical numbers. And the rest is worth it, too.

Flipflops aside, the couples are presented well; Liza Minelli's portrayal of Sally Bowles is definitely the acting part of a lifetime. She was just completely *convincing* as Sally, from end to end. Michael York as Brian is very reserved, very British, and very studied. Helmut Griem is entirely convincing as Max, who creates tension between the couple after befriending them. The secondary couple is played to perfection by Fritz Wepper and Marisa Berenson, as opportunistic Fritz Wendel who falls in love with the rich young Jewess Natalia Landauer, respectively. And, of course, Joel Grey is spectacular as the haunting, Puckish Emcee.

In general, this movie presents itself as a stunning revelation to viewers of a story that will stick around for a very long time. It's a virtuoso interpretation of one of the greatest American musicals, and deserves to be seen.

wonderful new collector's edition
CABARET has never looked better, remastered for it's 25th anniversary, with additional features.

Liza Minnelli gives the performance of her career as the singer Sally Bowles, on a self-imposed exile in Berlin, entertaining at the seedy Kit Kat Klub.

Into her life comes Brian Roberts (Michael York), a mild-mannered English bisexual who falls in love with her. Both are seduced by the wealthy Maximillian (Helmut Griem) before Sally falls pregnant, aborts the child and Brian leaves Berlin just as the Nazi's gain power.

The musical, set against the stormy backdrop of Berlin in the 1930's, is a marvellous piece of film making. Directed and choreographed by maestro Bob Fosse, CABARET also boasts original Broadway performer Joel Grey as the Master of Ceremonies, and Fritz Wepper and Marisa Berenson.

Also includes reminiscences by Liza Minnelli, Joel Grey, Michael York, Cy Feuer, John Kander and others from the creative team, an old featurette on the making of the film, and the original theatrical trailer.

THE BEST
As for musical-drama concerned... THIS IS IT! The producers of Chicago should have seen this(indeed they did - every major moment in that film is "stolen" from Cabaret) and put REAL musical stars in the film.

When u have Joel and Liza u are not let down... I give flowergreetings to the entire cast and crew... The filmversion of Cabaret has a lot of "new songs"(Maybe This Time, Mein Herr, The Money Song) and the plot follows the 1955-movie "I AM A CAMERA" more than the stage musical. Since then; the Liza-songs have found themselves in numerous revivals of this stageplay since this 1972-masterpiece. The film is still frightening and raw......Trivia: The scene in which Liza meets Marisa they talk about diseases... On video, here in Europe at least, that was cut....

Don't pass on this
I almost passed over this DVD because a couple of Amazon reviewers forcefully complained about the presentation. I'm glad I bought it. The widescreen was just as I expected, and picture and sound quality were fine. Anyone who's seen the movie knows how good it is. If you haven't seen it, you're in for a treat; and this DVD serves it well. (A five-star review is for the absolutely superlative.)

PLEASE PLEASE Don't buy this!
CABARET is one of the greatest movie musicals ever. I adore it. It is flawless, IMHO.
Why, then am I giving it one star? Because, as others have said, Warners should be ashamed of themselves. This is not the first, but the SECOND release of this movie in a non-anamorphic transfer. I bought the original and was mighty p****ed because it was non-anamorphic. I thought they would have honored this magnificent film in the "anniversary" release. But no. It is, as stated by another reviewer, the same disc as before, in terms of picture quality.
On a small TV you won't notice. But if you care about these things, then believe me, this release sucks big time. As did the first one.
I'm angry, not at being ripped off (I sent this one back for a refund) but because a wonderful work of art has been abused by a greedy, careless film company. And I have been robbed of the chance to see the film in its glory.
Having said that, nothing could improve the truly dreadful sound quality - which was terrible from day one.
I don't suppose there ever will be another release of this movie. What a terrible shame. ... Read more

Amazon.com essential video

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 (89)

Life is a cabaret, old chum...
It's often been said about old musical movies that they went too far in the conceit of people "bursting out in song" during a scene. Well, in his film version of Kander & Ebb's masterful Cabaret, Bob Fosse completely got around that problem by presenting the songs on stage. It was handled brilliantly, the choreography was incredible, and the movie just plain works.

Cabaret the movie doesn't share many songs in common with the original stage version - it still has "Willkommen," "Two Ladies," "Tomorrow Belongs To Me," a German version of "Married," "If You Could See Her," and "Cabaret" - but that's it. A few new songs were added - "Mein Herr," "Maybe This Time," "Money, Money," - but for the most part it's a lot less sung than the staged version. A lot of musical numbers dealing with the world outside the Kit Kat Klub were used as underscoring, preserving John Kander's great tunes. But this doesn't detract from it being one of the best filmed musicals out there.

Fosse's direction is a big help; it has a great eye for early 1930s Berlin, and presents the decadence and foreshadows the Nazis brilliantly. Fosse created great, sensual choreography for the film, and it is completely entrancing to watch the musical numbers. And the rest is worth it, too.

Flipflops aside, the couples are presented well; Liza Minelli's portrayal of Sally Bowles is definitely the acting part of a lifetime. She was just completely *convincing* as Sally, from end to end. Michael York as Brian is very reserved, very British, and very studied. Helmut Griem is entirely convincing as Max, who creates tension between the couple after befriending them. The secondary couple is played to perfection by Fritz Wepper and Marisa Berenson, as opportunistic Fritz Wendel who falls in love with the rich young Jewess Natalia Landauer, respectively. And, of course, Joel Grey is spectacular as the haunting, Puckish Emcee.

In general, this movie presents itself as a stunning revelation to viewers of a story that will stick around for a very long time. It's a virtuoso interpretation of one of the greatest American musicals, and deserves to be seen.

wonderful new collector's edition
CABARET has never looked better, remastered for it's 25th anniversary, with additional features.

Liza Minnelli gives the performance of her career as the singer Sally Bowles, on a self-imposed exile in Berlin, entertaining at the seedy Kit Kat Klub.

Into her life comes Brian Roberts (Michael York), a mild-mannered English bisexual who falls in love with her. Both are seduced by the wealthy Maximillian (Helmut Griem) before Sally falls pregnant, aborts the child and Brian leaves Berlin just as the Nazi's gain power.

The musical, set against the stormy backdrop of Berlin in the 1930's, is a marvellous piece of film making. Directed and choreographed by maestro Bob Fosse, CABARET also boasts original Broadway performer Joel Grey as the Master of Ceremonies, and Fritz Wepper and Marisa Berenson.

Also includes reminiscences by Liza Minnelli, Joel Grey, Michael York, Cy Feuer, John Kander and others from the creative team, an old featurette on the making of the film, and the original theatrical trailer.

THE BEST
As for musical-drama concerned... THIS IS IT! The producers of Chicago should have seen this(indeed they did - every major moment in that film is "stolen" from Cabaret) and put REAL musical stars in the film.

When u have Joel and Liza u are not let down... I give flowergreetings to the entire cast and crew... The filmversion of Cabaret has a lot of "new songs"(Maybe This Time, Mein Herr, The Money Song) and the plot follows the 1955-movie "I AM A CAMERA" more than the stage musical. Since then; the Liza-songs have found themselves in numerous revivals of this stageplay since this 1972-masterpiece. The film is still frightening and raw......Trivia: The scene in which Liza meets Marisa they talk about diseases... On video, here in Europe at least, that was cut....

Don't pass on this
I almost passed over this DVD because a couple of Amazon reviewers forcefully complained about the presentation. I'm glad I bought it. The widescreen was just as I expected, and picture and sound quality were fine. Anyone who's seen the movie knows how good it is. If you haven't seen it, you're in for a treat; and this DVD serves it well. (A five-star review is for the absolutely superlative.)

PLEASE PLEASE Don't buy this!
CABARET is one of the greatest movie musicals ever. I adore it. It is flawless, IMHO.
Why, then am I giving it one star? Because, as others have said, Warners should be ashamed of themselves. This is not the first, but the SECOND release of this movie in a non-anamorphic transfer. I bought the original and was mighty p****ed because it was non-anamorphic. I thought they would have honored this magnificent film in the "anniversary" release. But no. It is, as stated by another reviewer, the same disc as before, in terms of picture quality.
On a small TV you won't notice. But if you care about these things, then believe me, this release sucks big time. As did the first one.
I'm angry, not at being ripped off (I sent this one back for a refund) but because a wonderful work of art has been abused by a greedy, careless film company. And I have been robbed of the chance to see the film in its glory.
Having said that, nothing could improve the truly dreadful sound quality - which was terrible from day one.
I don't suppose there ever will be another release of this movie. What a terrible shame. ... 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

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

Reviews (9)

Overlooked, yet worth your time
Star80 is a very overlooked movie despite excellent performances from both Mariel Hemingway and Eric Roberts.

Mariel Hemingway portrays Dorothy Stratten, famous model who marries a lunatic played by Eric Roberts. He will stop at nothing to dominate her life and career, and it all ends with tragic circumstances. The last 10 minutes are quite possibly the saddest scenes I have seen in a movie.

The Australian DVD is thankfully presented in its original widescreen presentation (and anamorphic too) unlike the American pan and scan version.

I'm surprised Mariel Hemingway's career didn't take off because she is an exceptional actress.

Not a great DVD but a great film
Okay since we are in the DVD forum, and we are supposed to be writing about the DVD, lets get that out of the way. If you are looking for neat features like audio commentary, deleted scenes and the like, you will not find them here. Only chapter selections on a pan and scan format. It did not include the pictures for the scene selections and that was a bit frustrating to navigate when I tried jumping into the miiddle of the film. So as far a DVD goes, thumbs down.

If however you are looking for a great film, you have hit the jackpot! Fosse's writing is amazing and is carried off by some excellent acting. Eric Roberts balances one challenging role. As the husband/manager living off his wifes fame and popularity, he comes across as a second rate Ike Turner. The man is a slime and you still manage to find some sympathy for him. Watching his behavior his fascinating, and we have seen his like in one form or another. One who portrays what he thinks a rich and glamourous life style is by spouting off ham-handed dialouge and wearing tacky clothes who doesent realize the joke is on him. When finally does, it ends with tragic results. I've not been a big fan of Roberts until this movie.

Hemingway is also very effective as the centerfold with the heart of gold. The contrast of her and Roberts works nicely. She may not be the smartest person but at least she knows who she is. Her flaw is that she tries to please everyone and that of course also leads tragically.

The only flaw to this film is it's production value. Many would argue that it was 1983 when the movie was made, but it still has the feel of a after school special. There really is no style to the film. Just point and shoot film. If Fosse was looking for a documentary syle, he succeeded better with "Lenny" which I also reccomend. "Star 80" is a good one!

a distinctive and disturbing film.
This is a highly original and unsettling film. Although Mariel Hemingway as Dorothy Stratten effectively conveys her innocence and vulnerability, it is Eric Roberts as Paul Snider, the seedy small time loser and user of women, who is the focus of this film. What Roberts does so effectively is to make clear to the viewer why his awareness that he is losing Dorothy to a big name director leads to him committing his horrible rape-murder-suicide. It is more than just losing a meal ticket; it is instead the total self-negation it represents to him as someone who is dominated by feelings of worthlessness and a corrosive mixture of inadequacy, insecurity and hatred towards those he perceives as successful, rich and powerful. It is Roberts's delineation of these aspects of his character that makes his terrible act seem like the inevitable outcome of the forces that drive him, and leaves the viewer experiencing a mixture of horror and pity, even though one feels revulsion towards him. Moreover, the supporting performances by Cliff Robertson and Carroll Baker are excellent.
A definite recommendation.

The American Nightmare
Dorothy Stratten received considerable attention for her 1980 Playboy centerfold spread, which showcased her girl-next-door beauty and personality to remarkable effect. Most who knew her described her as a very sweet, kind, and strangely innocent young woman, and although her name as such was not well known to the public at large, many industry insiders felt she was on the fast-track to Hollywood stardom. We will never know if she could have made the career many expected of her, for little more than a year after her debut in Playboy her promoter, manager, and husband Paul Snider blew her head off with a shotgun.

Mariel Hemingway gives the performance of her career as Stratten, capturing the mixture of wholesome beauty and vulnerability that so many of Stratten's acquaintances described. But STAR 80 is actually less about Stratten than it is about Paul Snider, the small-time hustler who discovered, promoted, and married her--and then lost her through a combination of his own hysterical insecurity and her rising fame. Eric Roberts is simply bone-chilling in the role; it is a performance that should have earned him an Academy Award. The supporting cast is equally fine, with Cliff Robertson and Carroll Baker as Hugh Hefner and Dorothy's mother respectively. But the film goes beyond offering exceptional performances in a tragic story of promising youth cut short.

Director and writer Bob Fosse begins his story with Stratten's death and then presents the history of the Stratton-Snider relationship in a semi-documentary style through flashbacks and flash-forwards. The style serves him very well, for the film quickly develops such intensity that at times it becomes extremely difficult to watch. As it progresses, the story itself becomes a metaphor for hedonism of the 1970s surging into the 1980s: a poisonous mixture of superficial appearances, selfishness, user-mentalities, and disposability. As viewers, we are trapped in a count-down to death, unable to alter a single misstep in Stratten's final days and horrified by the inextoriable drift toward violence. The final ten minutes of the film are certainly among the most powerful, disturbing, and upsetting ever put to film.

STAR 80 proved too unpleasantly real for box office success. This is not an "entertaining" film. But it is a brilliantly done film, one undimmed by the passage of twenty years--and one that, sadly, will likely be as valid twenty years from now as it is today. Strongly recommended.

very overlooked film...
who could forget the tragic tale of dorothy stratten? to date, this film has never really received the full recognition that it deserves and i'm not exactly sure why. whereas many films love to cash in on great tragedies in hopes of making a big buck, i believe mr.fosse wanted to us to see how ms.stratten's death should effect us all and how unneccesary obsessions often turn violent in the end. the film has a steady pace, great script, and virtually flawless performances by everyone here. eric roberts nearly blew me away with his tense and dramatic presence. mr.roberts is another prime example of an actor overlooked by the academy awards. having not seen much of ms. hemingway's work, i have to admit i'm converted and will be seeking more of her films although probability suggests this was one of her greatest roles ever. at such a reasonable price, there is no reason not to own a copy of star 80 in your dvd library. you will not be disappointed. ... Read more

Reviews (20)

Hoffman gives a stellar performance, on truth, hypocrisy.
This biographical picture, of '60's comedian Lenny Bruce, features an outstanding; stellar, performance,by Dustin Hoffman (and people thought he could only play parts like in "The Graduate") as the controversial (for the time) Lenny Bruce. Valerie Perrine, as Honey, his stripper wife is gorgeous. His performance, judged as obscene, would be fairly tame today (but remember, this was the '60's). The authorities used this as a pretext to shut him up (much like they'd use the "Patriot Act" today) because his political comments hit too close to home. A great movie about a funny, controversial, but ultimately sad figure and the end leaves some speculation as to whether Mr. Bruce's death was a suicide or an overdose. Anyway, great movie, but not one for the younger kids (although probably they've already heard and seen enough on tv, in music; particularly rap, and in other media that [as stated earlier] to make anything in this movie seem tame). Also has Jan Miner [if the name's unfamiliar, think "Madge" the "Palmolive" lady in the commercials.]

One of Dustin Hoffman's best overlooked roles
Dustin Hoffman was just getting solidly established as a major Hollywood star when he took on the role of Lenny Bruce, the push-the-envelope comic whose use of profanity to poke fun at overly rigid '50s society led to numerous arrests and court cases that only fueled his fame and, ultimately, his addiction to heroin. His death by overdose left a gaping hole in American comedy that was soon filled by George Carlin and others -- none of whom would have been able to make it big if Lenny Bruce had not paved the way. Hoffman does a credible job of recreating Hoffman, especially the obsessiveness Hoffman had with his own celebrity trials and which, sadly, became the fabric of many of his later routines and drove away fans. Valerie Perrine gives a strong supporting performance as Bruce's wife (and ex-wife) and the sole somewhat stabilizing influence in his life. The gritty black-and-white technique conveys the black-and-white reality of the button-down, conformist 1950s and the manner in which the powers that be of that time pushed Bruce to the brink -- and he jumped... A great performance by Hoffman, and one that is sadly overlooked because of the harsh, gritty reality of the subject matter of this film. Excellent from beginning to end.

The best performance of Dustin Hoffman to date!
Bob Fosse was one the more brilliant minds in the story of the cinema . Gifted with that gaze of genius , left us several treasures Cabaret , Lenny , All that jazz , Star 80 , Sweet charity are undoubtly his better achievements.
But this movie became a reference issue. Lenny Bruce became a hard challenge for any actor. But what Hoffman got with this role still surpases , in my point of view all his next achievements.
Valerie Perrine never reached the highest peak as actress with this breathtaking performance. Her role deserved her the Prize as best actress in 1975 in the Cannes International Film Festival.
The film is deeply bitter and tolds the slow but progressive decadence of Bruce Lenny : in his private life and in his creative gifts as a stand-up comedian. Filmed in glorious black and white . this film is one my personal one of the major cult movies in any time.

Really Awesome.
'Lenny' is a really awesome film about a comedian named Lenny Bruce. I normally don't like Dustin Hoffman, but this has to be his best role and performance. Warning though, it is in black and white and extremely depressing.

Dustin Hoffman convincingly plays late comedian Lenny Bruce
Dustin Hoffman convincingly plays the late comedian Lenny Bruce. Lenny Bruce may have been funny to some people, but others thought he was very foul and cruel with his humor. Very Adults Only material. Valerie Perrine plays a stripper who Lenny falls in love with. Jan Miner, who you may remember as the "Palmolive" lady in the commercials we saw for many years, play's Lenny's mother. Gary Morton ( Once a comedian himself and later,Lucille Ball's second husband) plays "Sherman Hart". Elaine Joyce also plays a stripper. Lenny Bruce was arrested for using obscene language in a nightclub in the State of california. Later, he studied law obsessivly. In court, he presented his case. By jury, he won and was found innocent. But still the police had to be present at his nightclub acts. Rarely shown on regular television anymore and if so is heavily edited. It's best to see this film in its entirity on DVD. British Board of Film censors gave film an "X". ... Read more

Reviews (9)

Overlooked, yet worth your time
Star80 is a very overlooked movie despite excellent performances from both Mariel Hemingway and Eric Roberts.

Mariel Hemingway portrays Dorothy Stratten, famous model who marries a lunatic played by Eric Roberts. He will stop at nothing to dominate her life and career, and it all ends with tragic circumstances. The last 10 minutes are quite possibly the saddest scenes I have seen in a movie.

The Australian DVD is thankfully presented in its original widescreen presentation (and anamorphic too) unlike the American pan and scan version.

I'm surprised Mariel Hemingway's career didn't take off because she is an exceptional actress.

Not a great DVD but a great film
Okay since we are in the DVD forum, and we are supposed to be writing about the DVD, lets get that out of the way. If you are looking for neat features like audio commentary, deleted scenes and the like, you will not find them here. Only chapter selections on a pan and scan format. It did not include the pictures for the scene selections and that was a bit frustrating to navigate when I tried jumping into the miiddle of the film. So as far a DVD goes, thumbs down.

If however you are looking for a great film, you have hit the jackpot! Fosse's writing is amazing and is carried off by some excellent acting. Eric Roberts balances one challenging role. As the husband/manager living off his wifes fame and popularity, he comes across as a second rate Ike Turner. The man is a slime and you still manage to find some sympathy for him. Watching his behavior his fascinating, and we have seen his like in one form or another. One who portrays what he thinks a rich and glamourous life style is by spouting off ham-handed dialouge and wearing tacky clothes who doesent realize the joke is on him. When finally does, it ends with tragic results. I've not been a big fan of Roberts until this movie.

Hemingway is also very effective as the centerfold with the heart of gold. The contrast of her and Roberts works nicely. She may not be the smartest person but at least she knows who she is. Her flaw is that she tries to please everyone and that of course also leads tragically.

The only flaw to this film is it's production value. Many would argue that it was 1983 when the movie was made, but it still has the feel of a after school special. There really is no style to the film. Just point and shoot film. If Fosse was looking for a documentary syle, he succeeded better with "Lenny" which I also reccomend. "Star 80" is a good one!

a distinctive and disturbing film.
This is a highly original and unsettling film. Although Mariel Hemingway as Dorothy Stratten effectively conveys her innocence and vulnerability, it is Eric Roberts as Paul Snider, the seedy small time loser and user of women, who is the focus of this film. What Roberts does so effectively is to make clear to the viewer why his awareness that he is losing Dorothy to a big name director leads to him committing his horrible rape-murder-suicide. It is more than just losing a meal ticket; it is instead the total self-negation it represents to him as someone who is dominated by feelings of worthlessness and a corrosive mixture of inadequacy, insecurity and hatred towards those he perceives as successful, rich and powerful. It is Roberts's delineation of these aspects of his character that makes his terrible act seem like the inevitable outcome of the forces that drive him, and leaves the viewer experiencing a mixture of horror and pity, even though one feels revulsion towards him. Moreover, the supporting performances by Cliff Robertson and Carroll Baker are excellent.
A definite recommendation.

The American Nightmare
Dorothy Stratten received considerable attention for her 1980 Playboy centerfold spread, which showcased her girl-next-door beauty and personality to remarkable effect. Most who knew her described her as a very sweet, kind, and strangely innocent young woman, and although her name as such was not well known to the public at large, many industry insiders felt she was on the fast-track to Hollywood stardom. We will never know if she could have made the career many expected of her, for little more than a year after her debut in Playboy her promoter, manager, and husband Paul Snider blew her head off with a shotgun.

Mariel Hemingway gives the performance of her career as Stratten, capturing the mixture of wholesome beauty and vulnerability that so many of Stratten's acquaintances described. But STAR 80 is actually less about Stratten than it is about Paul Snider, the small-time hustler who discovered, promoted, and married her--and then lost her through a combination of his own hysterical insecurity and her rising fame. Eric Roberts is simply bone-chilling in the role; it is a performance that should have earned him an Academy Award. The supporting cast is equally fine, with Cliff Robertson and Carroll Baker as Hugh Hefner and Dorothy's mother respectively. But the film goes beyond offering exceptional performances in a tragic story of promising youth cut short.

Director and writer Bob Fosse begins his story with Stratten's death and then presents the history of the Stratton-Snider relationship in a semi-documentary style through flashbacks and flash-forwards. The style serves him very well, for the film quickly develops such intensity that at times it becomes extremely difficult to watch. As it progresses, the story itself becomes a metaphor for hedonism of the 1970s surging into the 1980s: a poisonous mixture of superficial appearances, selfishness, user-mentalities, and disposability. As viewers, we are trapped in a count-down to death, unable to alter a single misstep in Stratten's final days and horrified by the inextoriable drift toward violence. The final ten minutes of the film are certainly among the most powerful, disturbing, and upsetting ever put to film.

STAR 80 proved too unpleasantly real for box office success. This is not an "entertaining" film. But it is a brilliantly done film, one undimmed by the passage of twenty years--and one that, sadly, will likely be as valid twenty years from now as it is today. Strongly recommended.

very overlooked film...
who could forget the tragic tale of dorothy stratten? to date, this film has never really received the full recognition that it deserves and i'm not exactly sure why. whereas many films love to cash in on great tragedies in hopes of making a big buck, i believe mr.fosse wanted to us to see how ms.stratten's death should effect us all and how unneccesary obsessions often turn violent in the end. the film has a steady pace, great script, and virtually flawless performances by everyone here. eric roberts nearly blew me away with his tense and dramatic presence. mr.roberts is another prime example of an actor overlooked by the academy awards. having not seen much of ms. hemingway's work, i have to admit i'm converted and will be seeking more of her films although probability suggests this was one of her greatest roles ever. at such a reasonable price, there is no reason not to own a copy of star 80 in your dvd library. you will not be disappointed. ... Read more

Amazon.com essential video

Based loosely on the Broadway play, this film biography of late comedian Lenny Bruce captures his fiery brand of provocative humor while looking at his less-than-savory personal life. Dustin Hoffman earned an Oscar nomination for his portrayal of Bruce, a seminal figure in stand-up comedy who broke boundaries of language and subject matter by questioning hypocrisy and telling it hilariously like he saw it. Director Bob Fosse, working with cinematographer Bruce Surtees, used black-and-white to capture the shadowy nightclub world in which Bruce rose and fell, bleakly depicting the eventual loss of his livelihood when he became a victim of governmental obscenity prosecution. Hoffman is ably supported by Valerie Perrine as Bruce's stripper wife, Honey, as much a victim as a lover for Bruce. --Marshall Fine ... Read more

Reviews (20)

Hoffman gives a stellar performance, on truth, hypocrisy.
This biographical picture, of '60's comedian Lenny Bruce, features an outstanding; stellar, performance,by Dustin Hoffman (and people thought he could only play parts like in "The Graduate") as the controversial (for the time) Lenny Bruce. Valerie Perrine, as Honey, his stripper wife is gorgeous. His performance, judged as obscene, would be fairly tame today (but remember, this was the '60's). The authorities used this as a pretext to shut him up (much like they'd use the "Patriot Act" today) because his political comments hit too close to home. A great movie about a funny, controversial, but ultimately sad figure and the end leaves some speculation as to whether Mr. Bruce's death was a suicide or an overdose. Anyway, great movie, but not one for the younger kids (although probably they've already heard and seen enough on tv, in music; particularly rap, and in other media that [as stated earlier] to make anything in this movie seem tame). Also has Jan Miner [if the name's unfamiliar, think "Madge" the "Palmolive" lady in the commercials.]

One of Dustin Hoffman's best overlooked roles
Dustin Hoffman was just getting solidly established as a major Hollywood star when he took on the role of Lenny Bruce, the push-the-envelope comic whose use of profanity to poke fun at overly rigid '50s society led to numerous arrests and court cases that only fueled his fame and, ultimately, his addiction to heroin. His death by overdose left a gaping hole in American comedy that was soon filled by George Carlin and others -- none of whom would have been able to make it big if Lenny Bruce had not paved the way. Hoffman does a credible job of recreating Hoffman, especially the obsessiveness Hoffman had with his own celebrity trials and which, sadly, became the fabric of many of his later routines and drove away fans. Valerie Perrine gives a strong supporting performance as Bruce's wife (and ex-wife) and the sole somewhat stabilizing influence in his life. The gritty black-and-white technique conveys the black-and-white reality of the button-down, conformist 1950s and the manner in which the powers that be of that time pushed Bruce to the brink -- and he jumped... A great performance by Hoffman, and one that is sadly overlooked because of the harsh, gritty reality of the subject matter of this film. Excellent from beginning to end.

The best performance of Dustin Hoffman to date!
Bob Fosse was one the more brilliant minds in the story of the cinema . Gifted with that gaze of genius , left us several treasures Cabaret , Lenny , All that jazz , Star 80 , Sweet charity are undoubtly his better achievements.
But this movie became a reference issue. Lenny Bruce became a hard challenge for any actor. But what Hoffman got with this role still surpases , in my point of view all his next achievements.
Valerie Perrine never reached the highest peak as actress with this breathtaking performance. Her role deserved her the Prize as best actress in 1975 in the Cannes International Film Festival.
The film is deeply bitter and tolds the slow but progressive decadence of Bruce Lenny : in his private life and in his creative gifts as a stand-up comedian. Filmed in glorious black and white . this film is one my personal one of the major cult movies in any time.

Really Awesome.
'Lenny' is a really awesome film about a comedian named Lenny Bruce. I normally don't like Dustin Hoffman, but this has to be his best role and performance. Warning though, it is in black and white and extremely depressing.

Dustin Hoffman convincingly plays late comedian Lenny Bruce
Dustin Hoffman convincingly plays the late comedian Lenny Bruce. Lenny Bruce may have been funny to some people, but others thought he was very foul and cruel with his humor. Very Adults Only material. Valerie Perrine plays a stripper who Lenny falls in love with. Jan Miner, who you may remember as the "Palmolive" lady in the commercials we saw for many years, play's Lenny's mother. Gary Morton ( Once a comedian himself and later,Lucille Ball's second husband) plays "Sherman Hart". Elaine Joyce also plays a stripper. Lenny Bruce was arrested for using obscene language in a nightclub in the State of california. Later, he studied law obsessivly. In court, he presented his case. By jury, he won and was found innocent. But still the police had to be present at his nightclub acts. Rarely shown on regular television anymore and if so is heavily edited. It's best to see this film in its entirity on DVD. British Board of Film censors gave film an "X". ... Read more