list http://www.spout.com/ Recent community activity around All That Jazz on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/All_That_Jazz/918/default.aspx Title: All That Jazz
Year: 1979
Director: Bob Fosse
Plot: "It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, All Movie Guide
Times Tagged: 7
Number of Lists: 29
Number of blog posts: 3
Number of discussion threads: 1
SpoutRating: 3
]]>Tue, 28 Apr 2009 16:26:41 GMTAll That Jazz1979Bob Fosse"It's showtime!" In this part film <I>à clef</I>, part musical phantasmagoria, director/choreographer <a href="/players/P____90209/default.aspx" style='text-decoration:underline'>Bob Fosse</a> takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (<a href="/players/P____63580/default.aspx" style='text-decoration:underline'>Roy Scheider</a>, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (<a href="/players/P____59513/default.aspx" style='text-decoration:underline'>Ann Reinking</a>), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (<a href="/players/P____40447/default.aspx" style='text-decoration:underline'>Jessica Lange</a>) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from <a href="/players/P____89547/default.aspx" style='text-decoration:underline'>Federico Fellini</a>'s 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as <a href="/players/P___110533/default.aspx" style='text-decoration:underline'>Martin Scorsese</a>'s New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's <a href=/films/13990/default.aspx style='text-decoration:underline'>Grease</a>, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s. ~ Lucia Bozzola, All Movie Guide7Taggedy Taggged (6-10)29313http://www.spout.com/ProductImages/u22350xd6en.jpghttp://www.spout.com/films/All_That_Jazz/918/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/3/4/25843.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/4/2008 11:01:03 AM
Body: Rainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog » karina
]]>Tue, 04 Mar 2008 16:01:03 GMTKarinaKarina on SpoutBlog3/4/2008 11:01:03 AMRainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/4/25842.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/4/2008 11:00:54 AM
Body: Rainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog
]]>Tue, 04 Mar 2008 16:00:54 GMTSpoutBlogSpoutBlog on spout.com3/4/2008 11:00:54 AMRainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Re_Top_Five_Movies_About_Music/190/18304/1/ShowPost.aspx Post By: wonga
Post To: Top 5
Post Date: 8/17/2007 3:26:02 PM
Body: i completely agree with Once and Amadeus. i've seen Once twice now and the second time it struck me how much it was about the music -- it was like a music video, with a simple story that hardly needed dialogue. anyway, my five would include:Woodstock: i know it's an old chestnut but the music and the whole mood of the movie is perfect, especially if you haven't seen it for a while.Standing In The Shadows Of Motown: Great documentary about the Motown session players. if you're like me, you've forgotten how much you liked this music until you hear it again. All That Jazz: Dancing to die for!Almost Famous: The movie is inseparable from the soundtrack and both are pretty great.One-Trick Pony: i think Paul Simon's movie about a band on the road is a "hidden gem" and needs to be made available on DVD now!
]]>Fri, 17 Aug 2007 19:26:02 GMTwongaTop 58/17/2007 3:26:02 PMi completely agree with Once and Amadeus. i&#39;ve seen Once twice now and the second time it struck me how much it was about the music -- it was like a music video, with a simple story that hardly needed dialogue. anyway, my five would include:Woodstock: i know it&#39;s an old chestnut but the music and the whole mood of the movie is perfect, especially if you haven&#39;t seen it for a while.Standing In The Shadows Of Motown: Great documentary about the Motown session players. if you&#39;re like me, you&#39;ve forgotten how much you liked this music until you hear it again. All That Jazz: Dancing to die for!Almost Famous: The movie is inseparable from the soundtrack and both are pretty great.One-Trick Pony: i think Paul Simon&#39;s movie about a band on the road is a "hidden gem" and needs to be made available on DVD now! http://www.spout.com/blogs/jlgdrd/archive/2007/7/2/12854.aspx Post By: jlgdrd
Post To: Wicked Fun
Post Date: 7/2/2007 3:04:00 PM
Body: What can I tell you about De-Lovely, Irwin Winkler's musical biopic on the life of Cole Porter? It's disappointing, but not overwhelmingly so. It's engaging and more than pleasurable enough to warrant your time and the cost of a ticket. When it clicks, it's amazing. When it falters, the result isn't fatal. It takes a lot of risks, which more often than not succeed to great effect. There are times when the set pieces, acting, dialogue, lighting almost melt as the film combines it with Porter's wistful, ruminating music and you can feel the flood of emotion surpassing contextual detail. Borrowing from other films, such as Pennies from Heaven, A Chorus Line, and especially All That Jazz, De-Lovely's music spills over into reality. Performance as artifice is deconstructed. Kevin Kline (as Porter) and Ashley Judd (Porter's wife Linda) are inspired casting choices. Kline can seem self-absorbed without being dull. His desire to be liked makes us forget his compulsive need for attention. His performance, which feels restrained (for him) has just the right mix of charm and bravado to buffer Porter's egotism. Judd has a quiet, luminous air of sophistication that never comes off as cold or detached. The costumes (by Clare Spragge and Giorgio Armani) have an understated glamour that is dazzling without being ostentatious. It does go on a bit long, and there's an annoying ambivalence (if that's what it is) towards the material that diminishes the film.At the onset of De-Lovely, the aged Porter is visited by a man named Gabe, who orchestrates a musical of Porter's life, just for him. Porter reacts and reminisces throughout, but the players (including himself in the past) cannot hear him. The focal point of the film is Porter's marriage to Linda. He explains very early in their relationship his sexual predilection for men; he never hides it from her. When they marry, she does not function as a beard. (She says, "I think you like men more than I do," one of the best and most telling lines). They have an understanding, rather than an arrangement, which eventually causes them both intense anguish and remorse. Presumably, if queer sex weren't stigmatized, Porter could have acted on his same-gender romantic impulses without being such an opportunist. By all accounts, he was forthright about his tastes, but had to pay extortionists to keep this information from the public at large. Winkler uses the marriage to beg the question of Porter's bi-sexuality. But he never makes it clear whether he blames Porter or the times in which he lived. This, I think, is one of the serious problems with De-Lovely. It either makes a point repeatedly or leaves out vital information. There are astonishing scenes like the one where Porter guides a man identified only as "Jack" (John Barrowman) through "Night and Day." We can see desire gleaming in their eyes, we can see them connecting, but we never see them in bed. A scene in a gay bar (again, masterful, daring in its way) suggests a kind of depravity, as if Porter's sexuality, rather than, say, selfishness or naiveté were the culprit. As Cole's marriage to Linda starts to sour, we see her martyrdom, the despair she can't bring herself to disclose, but can't tell if he's ignoring her or clueless. I think De-Lovely could have made its point without quite as many harrowing scenes of grief and torment. They are important, but after awhile redundancy starts to get the better of us. And if indeed, the Porters were a casualty of unenlightened times, Winkler doesn't seem to get that the same motives (commercial or professional) that hindered Porter have also tainted his film. Still, De-Lovely compensates for its failure of nerve (or muted homophobia) with style and velocity. There are numerous cameos by contemporary musical artists (Alanis Morrisette, Diana Krall, Elvis Costello, Robbie Williams) that in another film might have seemed gimmicky, but here, seems to bring just the right touch. There's an ease and authority about most of the musical numbers that feels spontaneous and smooth, that gives you the upshot and elation without looking stagy or self-conscious. A wonderful, dark, evocative moodiness permeates the film. The songs emerge plausibly from the plot (and for the most part) without beating us over the head. When a film reaches a certain level of expertise, it can, to a certain extent, make its own rules. De-Lovely succeeds, often, by sheer force of competence and confidence. It stumbles when Winkler goes for intellect over intuition. There's a certain amount of justice, I suppose, in the fact that the musical productions are often smarter than the dialogue. When De-Lovely is smart, it's very, very smart. When it gets didactic, it drops like a cannonball.
]]>Mon, 02 Jul 2007 19:04:00 GMTjlgdrdWicked Fun7/2/2007 3:04:00 PMWhat can I tell you about De-Lovely, Irwin Winkler's musical biopic on the life of Cole Porter? It's disappointing, but not overwhelmingly so. It's engaging and more than pleasurable enough to warrant your time and the cost of a ticket. When it clicks, it's amazing. When it falters, the result isn't fatal. It takes a lot of risks, which more often than not succeed to great effect. There are times when the set pieces, acting, dialogue, lighting almost melt as the film combines it with Porter's wistful, ruminating music and you can feel the flood of emotion surpassing contextual detail. Borrowing from other films, such as Pennies from Heaven, A Chorus Line, and especially All That Jazz, De-Lovely's music spills over into reality. Performance as artifice is deconstructed. Kevin Kline (as Porter) and Ashley Judd (Porter's wife Linda) are inspired casting choices. Kline can seem self-absorbed without being dull. His desire to be liked makes us forget his compulsive need for attention. His performance, which feels restrained (for him) has just the right mix of charm and bravado to buffer Porter's egotism. Judd has a quiet, luminous air of sophistication that never comes off as cold or detached. The costumes (by Clare Spragge and Giorgio Armani) have an understated glamour that is dazzling without being ostentatious. It does go on a bit long, and there's an annoying ambivalence (if that's what it is) towards the material that diminishes the film.At the onset of De-Lovely, the aged Porter is visited by a man named Gabe, who orchestrates a musical of Porter's life, just for him. Porter reacts and reminisces throughout, but the players (including himself in the past) cannot hear him. The focal point of the film is Porter's marriage to Linda. He explains very early in their relationship his sexual predilection for men; he never hides it from her. When they marry, she does not function as a beard. (She says, "I think you like men more than I do," one of the best and most telling lines). They have an understanding, rather than an arrangement, which eventually causes them both intense anguish and remorse. Presumably, if queer sex weren't stigmatized, Porter could have acted on his same-gender romantic impulses without being such an opportunist. By all accounts, he was forthright about his tastes, but had to pay extortionists to keep this information from the public at large. Winkler uses the marriage to beg the question of Porter's bi-sexuality. But he never makes it clear whether he blames Porter or the times in which he lived. This, I think, is one of the serious problems with De-Lovely. It either makes a point repeatedly or leaves out vital information. There are astonishing scenes like the one where Porter guides a man identified only as "Jack" (John Barrowman) through "Night and Day." We can see desire gleaming in their eyes, we can see them connecting, but we never see them in bed. A scene in a gay bar (again, masterful, daring in its way) suggests a kind of depravity, as if Porter's sexuality, rather than, say, selfishness or naivet&eacute; were the culprit. As Cole's marriage to Linda starts to sour, we see her martyrdom, the despair she can't bring herself to disclose, but can't tell if he's ignoring her or clueless. I think De-Lovely could have made its point without quite as many harrowing scenes of grief and torment. They are important, but after awhile redundancy starts to get the better of us. And if indeed, the Porters were a casualty of unenlightened times, Winkler doesn't seem to get that the same motives (commercial or professional) that hindered Porter have also tainted his film. Still, De-Lovely compensates for its failure of nerve (or muted homophobia) with style and velocity. There are numerous cameos by contemporary musical artists (Alanis Morrisette, Diana Krall, Elvis Costello, Robbie Williams) that in another film might have seemed gimmicky, but here, seems to bring just the right touch. There's an ease and authority about most of the musical numbers that feels spontaneous and smooth, that gives you the upshot and elation without looking stagy or self-conscious. A wonderful, dark, evocative moodiness permeates the film. The songs emerge plausibly from the plot (and for the most part) without beating us over the head. When a film reaches a certain level of expertise, it can, to a certain extent, make its own rules. De-Lovely succeeds, often, by sheer force of competence and confidence. It stumbles when Winkler goes for intellect over intuition. There's a certain amount of justice, I suppose, in the fact that the musical productions are often smarter than the dialogue. When De-Lovely is smart, it's very, very smart. When it gets didactic, it drops like a cannonball. http://www.spout.com/members/0/tags/Loved-It/MemberTagFilms.aspxLoved-It
Number of films tagged: 509

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]]>Tue, 03 Nov 2009 17:56:35 GMT509179921Tag http://www.spout.com/members/0/tags/Boring/MemberTagFilms.aspxBoring
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