[AMAZONPRODUCTS asin=”B00KE3B6NI”]Considered by many the greatest musical theatre choreographer ever, Bob Fosse won an unprecedented eight Tony Awards for choreography and one for direction. He also was a successful filmmaker, receiving four Academy Award nominations winning for his direction of Cabaret in 1972. Two years later, Fosse suffered three coronaries in rapid succession, undergoing emergency surgery to save his life. This event led him to reflect and largely rationalize his hedonistic lifestyle. His only clear regret: not living up to his potential as a father.

Workaholic and egotistical as he was, Fosse asserts his own genius with the semi-autobiographical All That Jazz. Played by Roy Schneider, Joe Gideon, Fosse’s alter-ego, drives himself relentlessly. His newest film, The Comedian (obviously a riff on Fosse’s own Lenny) has been in the editing suite for months past the original deadline. At the same time, he’s helming a musical, a vanity project for his ex-wife as a way of making amends.

In order to meet the demand for perfection he puts on himself, each day is a ritual of ritual of pills, antacids, and eye drops. With an ever present cigarette dangling from his lips, Joe attempts to ignore the constant pain in his chest as he tries to balance a hectic personal and professional life. His ex-wife wants him to spend more time with his daughter, while his girlfriend wants him to end his one night stands with the dancers in his latest musical. His stress about the show is increasing. Joe is out of ideas; the whole thing is so shallow. Though the backers seem to love it, the songs are all flash and no substance, the jokes absurd.

All the while, Joe watches his own life, projected at the moment of his death, like fragments of a Shakespearean tragedy. He comments resentfully on his failures to the Angel of Death herself (Jessica Lange). He presents himself as an unpretentious sort who worked in Chicago strip clubs as a kid and simply strives to do good work. Gideon is very tough on himself, admitting to doing horrible things, as he sees it, for the sake of the work. For him, work is his life’s blood, not family, friends, or even the money his work brings.

Bob Fosse wasn’t a sleek director, and like his life, All That Jazz is one of his more chaotic offerings. Overflowing with half baked ideas, the story seems to combust even as it unspools. Like the musical Joe Gideon is working on, Fosse seems caught between a desire to entertain with an overdose of razzle dazzle and shock by showing the seamy side of showbiz.

The final musical number is the perfect microcosm of that manic confusion. Gideon and O’Connor Flood (an over the top Ben Vereen) and Gideon dance and sing an upbeat version of “Bye Bye Life” (from the Everly Brothers’ “Bye Bye Love”) in a fashion that would fit right in at 1970’s era Studio 54. The conclusion leaves few stones unturned and has an eerie resonance to Bob Fosse own death in 1987 at the age of 60.

Undeniably self-indulgent, All That Jazz is also unique. Bob Fosse did things in a way no one else would or could do. Even if you think All That Jazz is nothing but a narcissistic exercise, few people as famous as Fosse would be willing to lay themselves bare as Fosse did here. He may have been a troubled lout, but one look at his body of work and it’s impossible to deny his genius.

All That Jazz was nominated for nine Academy Awards in 1980 (including best actor, director, and picture) and won four.

Presented in the 1.85:1 aspect ratio, Criterion’s new 4K digital restoration looks excellent. There’s a high level of detail throughout and textures are stunning. Contrast is spot on and depth is regularly apparent. The image is vibrant and bright, exhibiting no noise or other digital anomalies.

Criterion has provided a DTS-HD Master in original 3.0 channel surround. The pop tunes—George Benson’s “On Broadway” and Harry Nilsson’s A Perfect Day—as well as the various Broadway numbers—“Everything Old Is New Again, “There’s No Business Like Show Business,” etc.—sound lively and exhibit the necessary depth. Dialogue is clean, clear and concise throughout.

English subtitles are included.

The following special features are available:

  • Audio commentary featuring Editor Alan Heim: Ported over from a previous DVD release, Heim provides interesting observations regarding the film’s editing process. He discusses how Fosse worked and says he wasn’t quite as driven as Joe Gideon.
  • Selected-scene audio commentary by actor Roy Scheider: Ported over from a previous DVD release, we find “Roy Scheider Comments on the Cattle Call Scene”, “Scheider Talks About Leland Palmer and Cliff Gorman”, “Portraying Bob Fosse”, “Becoming Joe Gideon”, “A Hard Look at an Addicted Man”, “About Ann Reinking”, “The Character Angelique”, “Being A Dancer”, “About the Work”, “Bob Fosse and Gwen Verdon”, “Air-otica”, “Almost Losing Angelique”, “Ann and Erzsebet’s Dance”, “The Morning Routine”, “The Heart Attack”, “Re: Fosse in the Hospital”, “A Screening”, “The Surgery Scenes”, “About The Filming Location”, “The Second Heart Attack”, “About Ben Vereen’s Character”, “Roy’s Dance Number”, and finally, “A Tribute to Bob Fosse.” Frankly, the actor allows for a lot of silences and doesn’t provide much in the way of interesting information.
  • An interview with Editor Alan Heim: (HD, 15:18) Conducted by Criterion in 2014, Heim discusses how he and Fosse developed the film’s Oscar winning editing style.
  • An Interview with Fosse Biographer Sam Wasson: (HD, 20:43) In this new interview, Wasson discusses the various compulsions and the self doubt that drove Fosse to create the body of work that he did.
  • Conversation Between Actors Ann Reinking and Erzsebet Foldi (SD, 34:00) Produced by Criterion in 2014, the two women discuss the experience of working with Bob Fosse, and various aspects of the filming process, with particular emphasis on their song and dance number for Gideon.
  • The Tomorrow Show Featuring Bob Fosse and choreographer Agnes de Mille(HD, 31:51) From 1980, the two dancing legends discuss dance, choreography and their careers.
  • Bob Fosse Interview on The South Bank Show (HD, 27:01) From 1981, Fosse discusses his life, approach to his work and All That Jazz.
  • Bob Fosse Interview on The South Bank Show (HD, 26:14) Fosse returns to the show in 1986 and spends some time with film critic Gene Shalit.
  • On Set Footage – Fosse Directing (HD, 7:58) Ported over from a previous DVD release, Fosse is shown directing scenes from various angles and at least here, he doesn’t look particularly drugged.
  • On Set Footage – Roy Scheider Interview (HD, 3:54) Ported over from a previous DVD release, the actor discusses working with Fosse, the physical demands of the role and Joe Gideon’s personality.
  • Portrait of a Choreographer (HD, 22:46) Ported over from a previous DVD release, this documentary takes a look at Fosse’s unique choreography, featuring interviews with collaborators and admirers,including Liza Minnelli, dancer Sandahl Bergman, Choreographer and filmmaker Rob Marshall and others.
  • The Soundtrack: Perverting the Standards (HD, 7:50) Ported over from a previous DVD release, this discussion of the film’s soundtrack features interviews with Liza Minnelli, composer Glen Ballard, Diane Warren and others.
  • Interview with Musician George Benson (HD, 3:36) Ported over from a previous DVD release, Benson discusses the use of his song “On Broadway,” as the film opens.
  • Trailer (HD, 1:42)
  • Booklet: An illustrated booklet featuring photos and an essay by critic Hilton Als.
  • Two DVDs featuring the same content as the Blu-ray.