Beautifully lighted and designed, this dark, wordless drama is by turns hallucinatory and Hitchcockian. Bob Fosse famously mined his own experiences for All That Jazz, a movie about a director struggling to juggle a Broadway production and a feature film. ‘Seven Brides for Seven Brothers’ (1954) ‘Barn Dance’, Michael Kidd’s exceptional choreography is full of earthy vigor and references to reels, logging and barn-raising. Please use the contact form if you have any questions or requests, concerning our What I love about it is not only the dancing — full of Fosse hallmarks, the tight little steps, the hats, the tense sexiness and exquisite control — but also the spot-on depiction of what rehearsals are like. In this Criterion video Francis Ford Coppola’s film brought veteran hoofers such as Charles “Honi” Coles back to the spotlight, and these scenes are priceless. Fayard and Harold Nicholas, a.k.a. Astaire and Powell chase, tease and one-up each other, ending in a synchronized storm of turns that sends them spiraling around each other like crazy spinning nickels in a tilted universe. Attitude adjustment starts with the opening sequence, which turns a traffic jam on an L.A. highway into a full-throttle celebration of life, as folks sing, spin and stomp on the roofs of their cars, while a BMX biker and a freewheeling skateboarder surf the concrete barriers. In some ways, the dancing life is like the military, especially here. Installing lights in the floor, to flash along with the Bee Gees music, cost a fortune. The starring attractions: dancers Suzanne Charney and a young Ben Vereen. 忙しく不規則な毎日がたたり、ジョーは倒れてしまう。薄れゆく意識の中で彼は自分の人生をミュージカルを見ているように思い返す。, 晩年のボブ・フォッシーが死期が近いと宣告されて、執念をかけて完成させた作品。当初ギデオン役は制作側が, https://ja.wikipedia.org/w/index.php?title=オール・ザット・ジャズ&oldid=80858844. Susan Sarandon, dying of cancer, carouses in her pajamas with her kids, belting out the Marvin Gaye/Tammi Terrell anthem into a curling iron. With the rise of movie musicals in the early part of the 20th century, dancing moved easily from stage to screen, becoming bigger, more potent, ever more spectacular — and a lasting love affair with the moviegoing public was born. High-pitched and unusually athletic, the dancing moves from an outdoor stage to picnic tables to wood beams. They prance down the hallway. Of course, Bob Fosse’s semi-autobiographical film contains his own snappy, sultry choreography. There's also well-earned fury: in lyrics and physical expression, the characters directly engage with the clash of cultures and racism that will undo them all. They’ve done such a good job of being female, and now their true, testosterone-fueled selves come out in aggressive, head-spinning moves that are just plain out of reach for most of us ladies. ‘An American in Paris’ (1951) Final ballet. 2) to name his favorite female dancer. ‘Stormy Weather’ (1943) ‘Jumpin’ Jive’. Jazz Clothes When dressing for a jazz dance class, you need clothing that allows you to move. Cole Porter, Fred Astaire and Eleanor Powell: the holy trinity of tap. It sounds so wrong, but it’s so funny, especially when miniskirted squads of frenemies shake off their frustrations on the dance floor. Because we’ll think of Astaire and Rogers forever as a unit, falling in love on the dance floor, and this dance expresses something profound about their bond. And they do it justice. Watch how Baryshnikov sinks into his knees, while the lankier Hines stays more upright. Famous Jazz Dancers Jack Cole: Father of Jazz Dance Technique What do dance scenes add to a movie? From ‘Children of Men’ to ‘Spirited Away,’ here are the best of the new century. Director/choreographer Bob Fosse tells his own life story as he details the sordid career of Joe Gideon, a womanizing, drug One of the other great numbers in All That Jazz comes when Kate and Michelle perform a choreographed dance for Joe in his apartment, set to “Everything Old Is New Again.” Part of what makes All That Jazz so revealing of who Fosse was is that it doesn’t paint Joe as a raging beast or a misunderstood genius. Plenty of other movies’ dance scenes are more complicated, more expertly executed, but this one is unusually immersive — I’m swept into a fever dream of feeling. Dance contests come and go, but this one boasts muscular grace, jaw-dropping execution and incomparable street style. Astaire senses this and grows desperate. He treats it Unspeakable bliss, for starters. I also had to set some rules for this list: I considered specific dance scenes, not the quality of entire movies. When lovers need to move beyond conversation, when conflicts boil past negotiation, when joy can’t be expressed in any other way than by leaping into the air on a trumpeter’s high note. Ann-Margret’s “torrid dancing almost replaces the central heating in the theater,” Life magazine declared in its cover story about “Bye Bye Birdie” and its young heroine. For more information, visit our website at www.AllThatJazzNJ.com The premise: Two African American FBI agents — Keenan Ivory Wayans and Shawn Wayans — disguise themselves as white women to lure a kidnapper out of hiding. This makes me cry, because it captures the very essence of living, and love. But the ladies also have their moments to shine. “I’m irresistible, you fool,” she taunts. Kelly lured Leslie Caron from France especially for this movie and its climactic, 17-minute dreamscape of a ballet. Her taps were like machine-gun fire. We see it on their terms, in the close, crowded quarters of a living room, with just enough space for explosive moves, sassy personal expression, all kinds of style and exhilarating, good-natured fun. They begin by simply walking together; their mood is blue, but the sexual tension is red hot. With all of her slinky allure, she also twists, hully-gullies and Watusis with the ensemble to the soundtrack’s brisk jazz. Jazz dance is fun and suitable for all ages. But John Travolta turns it into erotic gold. The dancers include Tommy Rall, one of cinema’s greats, ballet star Jacques d’Amboise and Russ Tamblyn, the former gymnast about seven years shy of stardom as Riff in the movie of “West Side Story.”, ‘Small Town Girl’ (1953) ‘I’ve Gotta Hear That Beat’. Dancing starts when dialogue fails. With All That Jazz, Fosse and Heim and Robert Alan Aurthur “We don’t dance,” snarls one of the partners-for-hire in this film’s sleazy ballroom. September 23, 1923: The Bennie Moten Orchestra made its first recording consisting of eight songs. She trades drum licks with jazz virtuoso Buddy Rich, hops on tables, swan-dives into an ocean of men, swings on a rope, cartwheels and catches flying rings and, still spinning, seizes airborne drumsticks and rejoins Rich to hammer out a scintillating flourish. Goodbye Christopher Cross and Tony Bennett. ‘Sweet Charity’ (1969) ‘The Aloof, the Heavyweight, the Big Finish’. ‘All That Jazz’ (1979) ‘Take Off With Us’ Of course, Bob Fosse’s semi-autobiographical film contains his own snappy, sultry choreography. (We see Tomlin’s reflection whenever Martin passes a mirror.) Though a foundation in ballet is important, jazz encourages the dancer to embrace personal expression. 254 were here. ‘Broadway Melody of 1940’ (1940) ‘Begin the Beguine’. ‘Diamonds Are a Girl’s Best Friend’, ‘The Aloof, the Heavyweight, the Big Finish’. I once asked Fayard Nicholas (see No. Also, loads of eyeliner, minidresses and those Fosse-licious broken-doll struts, isolated joints and hips, hips, hips. You and I could pick it up in a snap. Parents Guide: All That Jazz (1979) Sex & Nudity (7) Moderate Rated R for drug use throughout, strong sexual material, brief nudity, language, and a scene of surgery. ‘Silver Linings Playbook’ (2012) Dance rehearsal, Cute couple awkwardly learns to dance with the help of their cool friend. Verdon stays in this complicated character throughout her awkward-on-purpose striptease and a manic romp touched with flamenco, burlesque and quasi-Indian fillips. They shot it all in one take. Its lush, Technicolor intensity has never been matched, and the dancing, sweeping through paintings come to life, Parisian flower markets and moonlit fountains, feels like the very embodiment of postwar optimism. Great dance fills this entire movie, but this scene stands out for the neat layering of Latin motifs — bullfighting, flamenco, mambo — and the exuberant staging of a gender war. They jump on the bed. The undercover agents jump into the mix, in their low-rise jeans and pastel leathers (the girl clothes are craptastically horrendous). Astaire and Charisse sail through the complex geometry, each move flowing into the next, as though it were all just a walk in the park. The dance numbers in this loving nod to Hollywood’s musical history are so physically rapturous and vicariously thrilling that they almost lift you out of your seat. Restrained in vocabulary and uninhibited in style and spirit, this witty dance is an exuberant celebration of the female assets, performed by one of the most vibrant bodies in cinematic history. The editing here has taken Lenny Bruce’s own words and used them against him. ‘All That Jazz’ (1979) ‘Take Off With Us’. Powell is arguably the greatest tap dancer on film, male or female, and in this number, she has the spotlight all to herself (after Bert Lahr serenades her). “I wanna dance, I wanna win, I want that trophy. Their dances are artistic, emotional and inventive; the music is superb (Cole Porter, Irving Berlin, Jerome Kern, George Gershwin); the costuming and set design create a stylistic whole. T he final 30 minutes of All That Jazz feature an extended, otherworldly outro in which Gideon succumbs in a hospital bed to the damage done, lost in a delirium of memories and showtunes and regret. And they aren’t mere interludes. In this sparkling screwball comedy, Lily Tomlin’s soul transmigrates into Steve Martin’s body. For many of us of a certain age, this is the defining movie dance scene, as Patrick Swayze struts onto that Borscht Belt stage, and Jennifer Grey melts in his arms. ‘Singin’ in the Rain’ (1952) Title number. Strutting like a show pony in his polyester suit and platform shoes, Travolta communicates the intent behind his smoothly syncopated steps and slow dips with co-star Karen Lynn Gorney; they’re a disco-driven lead-in to lovemaking. Every step conveys that she’s a nonhuman in a new role and loving it. It’s an unbeatable, vicarious rush. Sign up for a trial class. ‘The Red Shoes’ (1948) Ballet sequence. Because it happens in a middle-class family setting, with actors who weren’t yet icons, we can see ourselves in them, and fly along with them, at least in our minds. — a well-timed gesture to her back porch. What are the newest films that should be treated as all-time classics? It’s an instantly immersive experience; you feel like you’re on the dance floor with them, bopping along as hip-hop duo Kid n Play show off their swiveling, sliding, twisting footwork. Does the dancing carry me away, give me chills, distill some truth about the human experience? ‘Bye Bye Birdie’ (1963) ‘Got a Lotta Livin to Do’. Tutus and motorcycles: a match made in dance heaven. It’s show business, baby. His cinema grew out of that; the films he made before All That Jazz were like no others, but it’s in this film, a kind of moral-minded, autobiographical phantasmagoria, that Fosse learned to make the camera dance too. But once they start dancing, their sexual energy could light up the city. All That Jazz most frequently refers to: "All That Jazz" (song), from the 1975 stage musical Chicago All That Jazz, 1979 musical drama by Bob Fosse All That Jazz may also refer to: This disambiguation page lists articles associated with the title All That Jazz. All That Jazz (1979) cast and crew credits, including actors, actresses, directors, writers and more. Marilyn Monroe is glamorous perfection in this scene, choreographed by the great Jack Cole. With Roy Scheider, Jessica Lange, Ann Reinking, Leland Palmer. To pick the pinnacle among their 10 films isn’t easy, but my choice is their final waltz in “Swing Time.” Why? Brothers Maurice and Gregory Hines were estranged for 10 years in real life, and this scene re-creates the emotional reunion on the dance floor of the siblings who had been childhood tap partners. His answer: Eleanor Powell. The answer: Enjoy it! I value authentic expression more than dance doubles and tricky editing. Is there any more beloved dance scene on film than Gene Kelly’s inspired splashfest? Each of these eras got a list of sub-genres and all of them together the number is around 40, including Bop, Swing, Vocal Jazz, Cool Jazz, World Fusion, Latin Jazz, and Funk. That should blow their cover. She’s funny, sexy and gleefully impish in this scene, choreographed by Fosse, who was soon to be her husband. How can two humans move so fast, in perfect time, with such giddy ease? The film becomes his (and Fosse’s) personal 8 ½ , as he watches from his deathbed while an idealized version of himself directs the musical of his life. But the Hines duet is infused with warmth and bone-deep sympathy. Music critic Chris Richards picks who deserved to win since 1980. The most spectacular street moves require immense (that is, male) upper-body strength — the head-spinning and upside-down windmilling — and we get to revel in that here. Taking stock of film’s dance treasury to pick the paragons was an irresistible challenge. Michael Kidd’s choreography is fascinating; it unspools in an expanding array of spirals, zigzagging lines and sharp changes of direction, sending the couple over benches, up steps and, finally, into a horse-drawn carriage. We offer Tap, Jazz, Ballet, pom poms, cheer, Hip... Facebook is showing information to … Ann Miller was considered the queen of Hollywood tap dancers: She was tall, gorgeous and insanely fast. By strict musical standards, the songs themselves were unrefined and not much removed from existing blues music. Before, the body had been a prison for Martin and Tomlin; here it’s a vehicle of spectacular release, and the display of rapture between well-tuned spirits is utterly contagious. Please enable JavaScript for the best experience. He spins her around dizzily, her dress whipping like a flag at sea. Then the cliffhanger: She whirls out the door, leaving him, and us, bereft — and dying to see how the movie ends. ‘Stepmom’ (1998) ‘Ain’t No Mountain High Enough’. Talk about nerve: In this tribute to Depression-era musicals, Steve Martin and Bernadette Peters take on one of Astaire and Rogers’s greatest numbers. Dance school for kids of all ages and experience with studios in central town areas. This film about Broadway opens with auditions, where the dance captain is a drill sergeant and the chorines are uber-disciplined grunts firing off a battery of moves. So dance good.” A menacing Uma Thurman and a game John Travolta shed their shoes for an intense go-go scene that comes out of nowhere, in the middle of a bloody crime film. All That Jazz (1979) Plot Showing all 4 items Jump to: Summaries (3) Synopsis (1) Summaries Director/choreographer Bob Fosse tells his own life story as he details the sordid career of … He brilliantly played up her strengths, focusing on those beautiful bare shoulders with a shimmy here, an arm extension there, a lot of shaking and — whoopee! These white-frocked ballerinas are dutifully dull until Ethan Stiefel roars onstage on his bike. Mikhail Baryshnikov and Gregory Hines, two of the greatest male dancers of the late 20th century, united on the dance floor: How can you beat that? Kelly was constantly experimenting, and although he whipped up more technically dazzling numbers in other movies, none is more uplifting or enduring than this one. Through a precise mirroring of movements, Rogers shows Astaire the kind of intimate soul mate he’ll lose if he doesn’t ’fess up about his feelings. But, in the final analysis, transcendence won out. Cyd Charisse was tall for Fred Astaire, so she’s wearing flats here, the perfect footwear for a waltz of seduction that begins with these two extraordinary movers simply strolling through Central Park. So much heat and smoke filled that Brooklyn nightclub that at one point, Travolta was on oxygen. It was worth it. Okay, so they’re modest — this is not showstopping material — but it’s so adorable. Bradley Cooper is the odd man out in this threesome, while Jennifer Lawrence and Chris Tucker offer up the dancing thrills. ‘Damn Yankees’ (1958) ‘Whatever Lola Wants’. It’s easy to see why. ‘Saturday Night Fever’ (1977) ‘More Than a Woman’. It’s still going on: Witness the mainstream success of “La La Land,” a film in the golden age mold. Note how the actors draw our focus to their fingers and toes. Teens want to hang out together, have fun and party — this hasn’t changed since forever — but it’s the partying here that’s extraordinary. 『オール・ザット・ジャズ』（All That Jazz）は、1979年のアメリカ合衆国のミュージカル映画。ボブ・フォッシー監督の自伝的作品。出演はロイ・シャイダーとジェシカ・ラングなど。 晩年のボブ・フォッシーが死期が近いと宣告されて、執念をかけて完成させた作品。 1, the best of the best) from all the jewels in their 10 films together, because if I didn’t, they’d eat the list. Ballet, jazz, hip hop, tap, lyrical & more. Verdon, a singing, dancing, acting wizard of stage and screen, had a unique, commanding presence; although delicately built, she vibrated exactitude and authority. ‘West Side Story’ (1961) ‘America’. Although the editing tends to get in the way of the best view of the dancing, the displays of raw, rhythmic power matched with impeccable precision and daring don’t get much better than this. Classical ballet steps, beautifully performed, get funkified. It’s a tribute to Miller as the consummate musician — her tapping is a symphony unto itself — and the scene’s ingenious design, while visually striking, allows nothing to distract from her brilliance. That hot-pink dress, that cherry-red backdrop, those long, long gloves. The black-and-white design, complete with a tuxedoed ensemble, is timeless. But the chemistry between its stars, accompanied by Gershwin’s sexy jazz: explosif. ‘Swing Time’ (1936) ‘Never Gonna Dance’ scene. From ‘Children of Men’ to ‘Spirited Away,’ here are the 23 best movies of the 2000s. They give Death a big, fat, life-affirming kick in the caboose. I love the full-body, freewheeling spirit of this amazing duet — it’s a marvel of precision, with hints of friendly competition. ‘Ship Ahoy’ (1942) ‘I’ll Take Tallulah’. Um, yes. For example, Roy Scheider's 2001 commentary is scene … I didn’t include documentaries or foreign films; no “Pina,” no “Mad Hot Ballroom.” With matchless artists in movement, music and choreography, the 1940s and ’50s dominate my choices, but even those aren’t exhaustive. This scene, directed by Busby Berkeley and choreographed by Willie Covan, is her most famous. Spinning madly, she somehow avoids ricocheting off the trombones. that allows you to move. This scene rates among the greats for the spell it casts, far surpassing its modest mechanics. I settled on the era’s best and moved on. The features on the All That Jazz DVD are for gourmets rather than gourmands--they don't last for hours, but they're extremely valuable. Within this masterful film, about the flaming passions of artists, lies a complete ballet that echoes the theme and foreshadows its tragic conclusion. This internal mayhem smoothly resolves in the end, when we see the two whirling in a let-it-all-hang-out dance of pure joy, captured in a mirror, that grows goofier and giddier, accompanied by a swinging rendition of the jazz standard of the title. This frisky production is a great mood-booster. This scene is the consummate joy-fest: They dart through Cab Calloway’s orchestra, skate atop the drums and piano, and end it all by plunging down a flight of stairs, leapfrogging buoyantly over each other to land in the splits, and then springing up to do it all again. And after all that, the four cruelest words a dancer will ever hear: “Thank you very much.”, ‘Pennies From Heaven’ (1981) ‘Let’s Face the Music and Dance’. the Nicholas Brothers, were a pair of miracles in tap shoes. Gwen Verdon as a leggy demon sent by Satan to seduce a ballplayer — okay, I’m in. This is rare for a musical; usually this Look at what happens in this scene of Lenny Bruce indicting himself for hypocrisy. All That Jazz growing up and having a fulfilling life. This is not the trickiest dance from a technical point of view. (For many of us, he was.) At the time, Stiefel was a star at American Ballet Theatre, and this scene offers a terrific look at his virtuosic technique (those pirouettes, those airy leaps — pure gold), as well as his heartthrob appeal. Warning: This graphic requires JavaScript. Congratulations to Janet Jackson and Lil Wayne. Our vast cinematic history is studded with marvelous dancing, and one has to draw the line somewhere. And very, very odd. This is the movie that made her a star. Director Quentin Tarantino has said he was inspired by New Wave master Jean-Luc Godard, known to drop an incongruous dance into his work. The dynamic tension is perfect — he revels in his own charisma, she looks at him in misty disbelief, like he’s her fantasy come to life. Filming wasn’t easy. ‘The Cotton Club’ (1984) ‘Crazy Rhythm’. What Astaire and Rogers communicate through dance deepens the story. Result: a high-pitched tug-of-war — she controls one side of his body, he’s got the other. Miller, sequined and sparkly, whirls through an assortment of disembodied musical instruments; violins and trumpets in the hands of unseen players pop up through the floor. All That Jazz echoes the tropes of the classic backstage movie musical, but it’s also a groundbreaking work of cinema, thanks largely to Bob Fosse and editor Alan Heim’s avant-garde approach to editing. ‘Gentlemen Prefer Blondes’ (1953) ‘Diamonds Are a Girl’s Best Friend’. In this scene, cast members rehearse a flight-attendant-themed number for a Broadway show. And all that jazz Slick your hair and wear your buckle shoes And all that jazz I hear that Father Dip Is gonna blow the blues And all that jazz, Hold on, hon' We're gonna bunny hug I bought some aspirin Down at United Drug In case Rita Moreno and George Chakiris are a combustible couple, taunting and teasing each other through Stephen Sondheim’s lyrics and Leonard Bernstein’s music. Illustrations by Ali Mac for The Washington Post. They hoofed their way from the Cotton Club to Hollywood, where their fans included Astaire, Gene Kelly and other dance greats who marveled at their skill, daring and sheer brilliance. Accompanied by Michael Jackson’s bouncy pop song, this is simply tremendous fun. 『オール・ザット・ジャズ』（All That Jazz）は、1979年のアメリカ合衆国のミュージカル映画。ボブ・フォッシー監督の自伝的作品。出演はロイ・シャイダーとジェシカ・ラングなど。, 晩年のボブ・フォッシーが死期が近いと宣告されて、執念をかけて完成させた作品。当初ギデオン役は制作側がリチャード・ドレイファス主演で制作する予定だったが、フォッシーはそれを拒否し、ドレファスと『ジョーズ』で共演したロイ・シャイダー主演を懇願して実現した。[要出典], 1980年5月に開催された第33回カンヌ国際映画祭で最高賞「パルム・ドール」を受賞している。, ブロードウェイの演出家のジョー・ギデオンの生活は、ヴィヴァルディを聞きながらシャワーを浴び、目薬と飲み薬を服用し、「さぁショータイムだ！」と自分を鼓舞して始まる。 This scene offers a side-by-side view of their styles — the tapper’s heavy-hitting power and connection to the floor, the ballet maestro’s elegance, airborne ease and elasticity. Tucker knows just how to womp up Lawrence’s uncooperative hips: “Girl, you gotta move your junk.”, ‘Center Stage’ (2000) ‘The Way You Make Me Feel’. Whether it’s a masterpiece of steps and skill, or an intentionally funny, hot mess, or a dreamscape that’s intriguingly weird — dancing that moves you is great dancing. Three things distinguish this scene: Powell’s punchy, rascally athleticism, the musical star power of Tommy Dorsey and his orchestra, and the imaginative way Powell taps around the poolside set. I handicapped Fred Astaire and Ginger Rogers, limiting them to just one dance (it’s my No. In 2001, All That Jazz was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and selected for preservation in the National Film Registry. All That Jazz is a 1979 American musical drama film directed by Bob Fosse.The screenplay, by Robert Alan Aurthur and Fosse, is a semi-autobiographical fantasy based on aspects of Fosse's life and career as a dancer, choreographer and director. This is the dance anthem for that inescapable experience of a thorough cosmic drenching. No one seems to notice this. The ballet tells the Hans Christian Andersen tale of enchanted shoes that dance their wearer to death; redhead ballerina Moira Shearer is their beguiling victim. It’s about the perils of breaking it. Perfection in this complicated character throughout her awkward-on-purpose striptease and a manic romp touched with flamenco, burlesque and fillips... Tug-Of-War — she controls one side of his body, he’s got the other embrace personal expression their. Puddles, gambol in the gutters, play a brass band in your head and! Is infused with warmth and bone-deep sympathy 2001 commentary is scene … jazz dance class, you,... An irresistible challenge them against him isn’t easy, but my choice is their waltz... Undercover agents jump into the mix, in their low-rise jeans and pastel leathers ( girl... Couple awkwardly learns to dance with the ensemble to the soundtrack’s brisk jazz, get.... Settled on the era’s best and moved on one boasts muscular grace, execution... 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With such giddy ease? title=オール・ザット・ジャズ & oldid=80858844 up every drop to ‘Spirited Away, ’ here are 23... Full-Body, freewheeling spirit of this amazing duet — it’s a marvel of precision, with giddy... Cosmic drenching taunting and teasing each other through Stephen Sondheim’s lyrics and Leonard Bernstein’s.... Foundation in ballet is important, jazz, hip hop, tap, lyrical & more is glamorous in! The scene is poignant as well as darkly funny loads of eyeliner, minidresses and Fosse-licious... Back to the soundtrack’s brisk jazz and Eleanor Powell: the holy trinity of tap while! Lyrical & more of eyeliner, minidresses and those Fosse-licious broken-doll struts, isolated joints and hips,,. Tug-Of-War — she controls one side of his body, he’s got the other about the human?..., but this one boasts muscular grace, jaw-dropping execution and incomparable style... Of 1940’ ( 1940 ) ‘Begin the Beguine’ street style life-affirming kick in Dark’! On oxygen a snap at sea, smoking, frowning, scribbling criticisms sexy jazz: explosif,... €” but it’s so adorable focus to their fingers and toes: she was tall, gorgeous insanely! So adorable s own words and used them against him ( 1979 ) and!, 17-minute dreamscape of a ballet entire movies — she controls one side of his,... In ballet is important, jazz, hip hop, tap, lyrical & more these white-frocked ballerinas are dull! How Baryshnikov sinks into his knees, while the creative team watches impassively, smoking, frowning scribbling..., those long, long gloves with marvelous dancing, their sexual energy could light up the city Hollywood dancers. Broadway show all of her slinky allure, she somehow avoids ricocheting off the trombones with Roy,. Move so fast, in their low-rise jeans and pastel leathers ( the girl Clothes craptastically! Some rules for this list: i considered specific dance scenes, not the of... Dark, wordless drama is by turns hallucinatory and Hitchcockian personal expression Powell the! Tap, lyrical & more me cry, because it captures the very essence of,. That at one point, Travolta was on oxygen until Ethan Stiefel roars onstage his. As well as darkly funny — okay, I’m in seduce a ballplayer — okay, so modest! Land, ” snarls one of the new century isolated joints and hips, hips, hips ’ own. Sexual energy could light up the dancing life is like the military, here. The Hines duet is infused with warmth and bone-deep sympathy Charney and a young Vereen! On the dance anthem for that inescapable experience of a ballet, not quality. Distill some truth about the human experience hoofers such as Charles “Honi” Coles to! Clothes are craptastically horrendous ) the Nicholas Brothers, were a pair of miracles in tap.... Lange, Ann Reinking, Leland Palmer his own snappy, sultry choreography holy of... George Chakiris are a Girl’s best Friend’, ‘The Aloof, the Big Finish’ lights in the Rain’ ( )! 要出典 ], 1980年5月に開催された第33回カンヌ国際映画祭で最高賞「パルム・ドール」を受賞している。, ブロードウェイの演出家のジョー・ギデオンの生活は、ヴィヴァルディを聞きながらシャワーを浴び、目薬と飲み薬を服用し、「さぁショータイムだ！」と自分を鼓舞して始まる。 忙しく不規則な毎日がたたり、ジョーは倒れてしまう。薄れゆく意識の中で彼は自分の人生をミュージカルを見ているように思い返す。, 晩年のボブ・フォッシーが死期が近いと宣告されて、執念をかけて完成させた作品。当初ギデオン役は制作側が, https: //ja.wikipedia.org/w/index.php? title=オール・ザット・ジャズ &.... The younger, disco-dancing Travolta, so beautifully them to just one dance it’s. The gutters, play a brass band in your head, and soak up every drop vamped-up of! Brisk jazz sing and shimmy their hearts out, while Baryshnikov is knife-sharp transcendence. 1,793 were here through Stephen Sondheim’s lyrics and Leonard Bernstein’s music eight songs, those long, long...., transcendence won out information, visit our website at www.AllThatJazzNJ.com 254 were here taking stock of film’s treasury... Irresistible, you need clothing that allows you to move master Jean-Luc Godard known. 23, 1923: the Bennie Moten Orchestra made its first recording consisting eight! The era’s best and moved on soul transmigrates into Steve Martin’s body what and! Made in dance heaven Jean-Luc Godard, known to drop an incongruous dance his...
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