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

Description

A movie musical landmark that won eight Academy Awards(R)! Liza Minnelli and Joel Grey star in Bob Fosse's smashing film version of the Broadway hit set in pre-Nazi era Berlin. ... 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

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 (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

Amazon.com essential video

Winner of eight Academy Awards, including Best Director (Bob Fosse), Best Actress (Liza Minnelli), and Best Supporting Actor (Joel Grey), Cabaret would also have taken Best Picture if it hadn't been competing against The Godfather as the most acclaimed film of 1972. (Francis Ford Coppola would have to wait two years before winning Best Director, for The Godfather, Part II.)Brilliantly adapted from the acclaimed stage production, which was in turn inspired by Christopher Isherwood's Berlin Stories and the play and movie I Am a Camera, this remarkable musical turns the pre-war Berlin of 1931 into a sexually charged haven of decadence. Minnelli commands the screen as nightclub entertainer Sally Bowles, who radiantly goes on with the show as the Nazis rise to power, holding her many male admirers (including Michael York and Helmut Griem) at a distance that keeps her from having to bother with genuinely deep emotions. Joel Grey is the master of ceremonies at the Kit Kat Klub who will guarantee a great show night after night as a way of staving off the inevitable effects of war and dictatorship. They're all living in a morally ambiguous vacuum of desperate anxiety, determined to keep up appearances as the real world--the world outside the comfortable sanctuary of the cabaret--prepares for the nightmarish chaos of war. Director-choreographer Fosse achieves a finely tuned combination of devastating drama and ebullient entertainment, and the result is one of the most substantial screen musicals ever made. The dual-layered Special Edition widescreen DVD includes an exclusive 25th-anniversary documentary, Cabaret: A Legend in the Making, a 1972 promotional featurette, a photo gallery, production notes, the theatrical trailer, and more. --Jeff Shannon ... Read more

Amazon.com

Legendary director/dancer/choreographer Bob Fosse may have been a consummate entertainer, responsible for popular productions on the Broadway stage, but he was also an uncompromising filmmaker who wasn't afraid to explore the dark side of humanity. After the autobiographical intensity of All That Jazz, Fosse's final film was this honest and painfully authentic biography about Dorothy Stratten, who was Playboy's Playmate of the Year for 1979 and had just begun a promising film career when her jealous boyfriend took a shotgun to her head. Fosse tackles this brutal reality head on, opening the film with the aftermath of murder and telling the story in flashback, beginning in Vancouver when slick charmer Paul Snider (Eric Roberts, in a chilling performance) discovers Dorothy (Mariel Hemingway) and makes her his ticket to fame and unearned glory. He's a loser and a user, and when Dorothy rises to success and glamour at the Playboy mansion, Hugh Hefner (Cliff Robertson, perfectly cast) urges the blonde beauty to drop her troublesome boyfriend. Jealousy and rejection push Paul over the edge, but Star 80 (the title is taken from Snider's vanity license plates) is no simple tale of male ego gone bad. Fosse explores the chasm between fame and obscurity, and the self-destructive lengths to which some people will go to bridge that gap. The film is a darker telling of the kind of story Boogie Nights would tell nearly 15 years later--both films are set in the late '70s and early '80s, and both deal with the inevitable loss of innocence in a world where innocence cannot survive. In a bleak but fascinating way, Star 80 is masterful in its refusal to look away from the tragedy of its true story. It's a farewell statement from a director who clearly understood the high cost of stardom. --Jeff Shannon ... Read more