I’ve been constantly looking for the one film that could possibly win over even people who weren’t a fan of musicals. And I’m pretty sure I just found it. This fantastical musical drama was originally released in theaters worldwide by 20th Century Fox and Columbia Pictures on December 20th, 1979. Made for the budget of $12 million, it went on to gross over $37.8 million at the box office, considered above expectations. One of the most acclaimed films of its year, it went on to garner the Palme d’Or at the Cannes Film Festival the following year and won 4 Academy Awards out of 9 nominations. Additionally, it received high praise from figures in the industry, including filmmaker Stanley Kubrick. Directed by Bob Fosse, the screenplay was written in collaboration with producer Robert Alan McArthur. As the production’s cost was continuously climbing, another studio had to be brought in to help finish it and was given domestic distribution as well. The film is said to be based on Fosse’s experiences trying to stage a production of Chicago while simultaneously editing the film Lenny, which resulted in him suffering massive heart attack. Many of the actors involved were either based on people in Fosse’s life or were playing mildly fictional versions of themselves. Roy Scheider stars as Joe Gideon, a workaholic yet successful Broadway director and choreographer. As he’s working on a brand new show, while also editing a film behind schedule, his health condition gradually becomes worse as he can’t pull himself away from a life of debauchery. He frequently has imaginary conversations with an angel of death named Angelique, played by Jessica Lange, who tries to help him understand the sins of his life. And despite the crystal clear signs and warnings from family and friends that he needs to slow down, Joe is determined to finish his work before his time on Earth is over. While my Broadway history is far from thorough, I really do enjoy Bob Fosse’s work on musicals like Chicago. His intimate and first-hand knowledge of that world really shines through in just about every one of his projects. There’s a certain energy and wavelength they’re all on that’s just impossible to resist so easily. Despite this, I had never seen any of his film productions until this one. I guess it was partially because I feared if his masterful staging and choreography would translate into cinema very well. And that is just the case because All That Jazz is a phenomenal film that transcends its very genre over and over. Unlike most semi-autobiographical pictures, this one doesn’t try to sanitize the director’s lifestyle or his profession. In fact, the best and most terrifying part about it is how Fosse reckons with his destructive choices and the people he’s damaged as a result. And yet, I’ve been told that this is still somehow less dramatic than what had actually transpired in real life. Even more scary is that All That Jazz is unafraid to show the dangerous side of show business, warts and all. There are numerous scenes where the producers and financiers of Gideon’s projects are either extremely uncomfortable with his vision or trying to find a way to undermine it for investment returns. In that, it might be too brutal to watch for some, but it never forgets the humanity at the heart of the story. Roy Scheider makes a total departure from his heroic turn in Jaws by completely embodying the director in the best way possible. As Joe Gideon, he convincingly portrays his gradual downfall as his personal and professional life come to a head. His constant movement and multitasking shows the natural talent he possesses, even if it alienates everyone in his life. Watching him slowly fall apart, first denying it hen embracing it, is heartbreaking to see. Jessica Lange also shines as Angelique, Gideon’s eager and contemplative angel of death. The film often interjects scenes of the real world with Gideon recounting different stories to her, who’s goal seems to be trying to understand his humanity as death inches closer. Her curiosity towards his failings as a man makes her one of the few characters he opens up to, even though she’s somewhat distant emotionally. The supporting cast is rounded out by a troupe of noticeable character actors, many of whom have background in theater. This includes Ann Reinking as the auteur’s youthful new girlfriend, Ben Vereen as a late night music entertainer, Cliff Gorman as the lead actor in a film Gideon is cutting together, John Lithgow as one of Gideon’s Broadway rivals, and Wallace Shawn as an opportunistic insurance investigator. Each one plays a big part in Joe’s personal or professional life and frequently come and go as the story needs them to. And from a purely technical standpoint, All That Jazz is a towering achievement in the Hollywood New Wave. Shot by Federico Fellini’s collaborator Giuseppe Rotunno, the cinematography is gritty and largely unpretentious. For the moments when it’ just focused on Joe’s personal affairs or business dealings, the color palette is very grimy and harsh as to represent his lifestyle. But when it switches to something more theatrical, the colors turn vibrant with spotlights and the lighting is incredible. Most of the shots are steady zooms or tracking shots, often showcasing a whole performance in one go. It is made even more amazing by the editing job from Alan Heim, which may as well be a Masterclass in editing. The most notable example of it being Joe’s morning routine, which repeats several times and gives a great view of his unhealthy habits. It frequently cuts between two scenes to show a strong juxtaposition between them, such as the Broadway show’s backers discussing financial prospects contrasting with Joe’s heart surgery. As the film goes along, the editing becomes more distorted as Joe becomes more unsure of what’s real and what’s the afterlife. Both of these things culminate in a glorious final act, which might just be one of the best endings in film history. With a new rendition of The Everly Brothers’ “Bye Bye Love,” it’s a spectacular finale befitting of its protagonist. And the smash cut to the last shot is perhaps one of the most devastating you’re likely to ever see in a motion picture. Featuring intense performances, amazing direction, and an incredible ending to cap it all off, All That Jazz is an existential masterpiece of music, death, and the personal cost of artistry. By subverting the “tortured artist” cliché and letting his guard down, Bob Fosse delivers one of the most powerful and unhinged portraits of the entertainment industry. Roy Schieder gives a great performance as a caricature of Fosse and the whole rest and the cast and crew bring their absolute A-game. As I said in the beginning, even if you don’t really like musicals, it will be very difficult to not be captivated by this film’s chaotic beauty.