It would be like being praised byMichael Jordanfor your jump shot.
Being the quintessential tortured and self-destructive artist,Bob Fossewould likely be unbothered by a parade of celebration.
In other words,All That Jazzis the story of Bob Fosse.
Image by Zanda Rice
A solemn and humanist look at the horrors of impending nuclear warfare.
Stanley Kubrick needs no introduction.
The director is also remembered for the uncharacteristic group of films that he has publicly championed.
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Its effortless virtuosity is enough to leave a permanent imprint on all viewers.
If you’re Fosse, though, you would undoubtedly take this honor with you to the grave.
“Do you suppose Stanley Kubrick ever gets depressed?”
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asks a weary Joe Gideon while editing his jumbled stand-up comedian movie inAll That Jazz.
It’s funny to think that Kubrick’s admiration for the film was because Fosse appealed to his hubris.
How Does ‘All That Jazz’ Appeal to Stanley Kubrick’s Sensibilities?
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Musicals, on the surface, don’t seem like Kubrick’s cup of tea.
Fosse poured his heart and soul onto celluloid, characterizing himself as a genius and a wretch.
His ego is matched by his reconciliation for all the heartbreak and turmoil he’s caused.
Joe Gideon, a brilliant but self-destructive director and choreographer, juggles his Broadway show, a film project, and his chaotic personal life. As his health deteriorates, he spirals deeper into a world of addiction and hallucinations, all while envisioning a lavish, surreal musical finale to his life
On paper, the director ofPaths of Gloryand the choreographer of the movie musicalDamn Yankeesshould have nothing in common.
