Bob Fosse
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Here, it's an underground variant of Cabaret, shot with an exploitative lens that's more Todd Browning than the Baz Luhrmann it desires.
…a particularly charming, campy, Americana gothic aesthetic that is reminiscent of Cabaret…
…when the grungy club scenes arise, they’re reminiscent of “Cabaret”…
Homenaje al terror clase B, al gore y a los clásicos de monstruos de la Universal, a las historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde, al musical paródico con estética camp con citas que incluyen a El joven Frankenstein, The Rocky Horror Picture Show y Cabaret, a las películas de gánsteres, al film noir (Pacto de sangre / Double Indemnity), a las screwball comedies (Ayuno de amor / His Girl Friday), a las road movies (Thelma & Louise), pero también con elementos que remiten de forma directa a la exitosa Guasón y al despliegue pop de Zack Snyder…
…there are allusions to Cabaret…
Another example is All That Jazz, the semi-autobiographical musical by Bob Fosse, which utilizes the director’s own experiences to tell a story about the addictive nature of show business, mortality, and the struggle to cling to what’s slipping away – love, family, health, fame, and career.
The flashbacks call to mind Bob Fosse’s self-critiques in All That Jazz, or Federico Fellini analyzing his own romantic buffoonery and artistic impotence in 8½.
With a nod to such movies as 8½ and All That Jazz, a feeble script by Baumbach and Emily Mortimer touches on interesting conceits…
No hay realmente mucho espacio para lo metacinematográfico que sí podían exhibir referentes claros como ‘Fellini, ocho y medio’ o ‘All That Jazz (Empieza el espectáculo)’.
…and it wants to be George Clooney’s All That Jazz–a hagiography for the temple of film on the one hand, a self-lacerating reflection on the cost of stardom on the other…
Bob Fosse may have made a thinly disguised biography of his own life in 1979 with ALL THAT JAZZ, but at least he cast a different actor (Roy Scheider) to play him onscreen.
Chicago (2002)
Directed by Rob Marshall
influenced by Sweet Charity (1969), Cabaret (1972), Lenny (1974)
Visuals
The vampy silhouettes of "The Cell Block Tango" here recall the women of "Hey, Big Spender" in Fosse's "Sweet Charity" — leggy and threatening as they pose in a line, sharply defined by the camera.
Not that you'd notice, for he does as Fosse did with Sweet Charity, his film directing debut, and invests the camera with the agility of a dancer.
From its jaunty score and smoky-nightclub motifs to its robust and vibrant dancing, their Chicago evokes Cabaret while also carving its own Jazz-Age identity.
You can't help wondering what Fosse would have done to add some panache and ferocity toa film version of Chicago, a musical that was created in the mid-seventies, after his movies Cabaret and Lenny, and before the autobiographical All That Jazz.
Socking out her songs and story on stage, cluing us in to all the dirt from the time she shoots her faithless lover to her sensational trial and its strange aftermath, star-struck Roxie turns her sordid saga into a glitzy vaudeville act, while a slithery emcee-bandleader (Taye Diggs) calls the shots, a la "Cabaret."At…
Those of us lucky enough to have seen his production, with songs by Kander and Ebb that stand comparison with their Cabaret score, can still remember Jerry Orbach as Roxie�s grandstanding lawyer, Billy Flynn, transforming himself into Clarence Darrow for his big courtroom number, "Razzle Dazzle."
Some of the cultural references might be a little on the nose – posters for Sweet Charity and Breakfast At Tiffany’s are clear signposts towards the seedier aspects of swinging Soho – but that hardly matters.
She assumes that she will naturally fit in, that the college might be full of eccentrics like her, and that the city might be a magical place like the one she’s often dreamed about in her small room, covered in posters for films like Sweet Charity and Breakfast at Tiffany’s and images of long-dead pop stars.
An old soul, Eloise bedecks her teenage bedroom in Breakfast at Tiffany’s (1961) and Sweet Charity (1969) movie posters, and, when packing for university, stuffs her suitcase with Cilla Black and the Searchers LPs, almost forgetting to bring socks alongside all her Sixties memorabilia.
From her vinyl collection featuring Cilla Black, her bedroom posters featuring Sweet Charity and Audrey Hepburn in Breakfast in Tiffany’s, to its use of John Barry’s ‘ Beat Girl’ , it all culminates into a sweeping 360-degree payoff reveal when she’s transported to her 60s dreamscape, and James Bond’s Thunderball lights up the London skyline.
The filmmakers' best idea was to feature Eric Roberts in a cameo, but "Lovelace" is a far cry from "Star 80."
Supporting roles are expertly filled by such talented actors as Hank Azaria, Chris Noth, Bobby Cannavale , and Adam Brody, with a brief appearance by Eric Roberts as a reminder of a not-dissimilar story, Star 80. I’ve already read complaints that the film doesn’t tell enough of the Deep Throat backstory (which is well covered in the documentary Inside Deep Throat), or that we don’t learn enough about Lovelace’s youth, later problems, and outspoken campaign against pornography and sexual abuse.
This story follows the similar path of Bob Fosse's lacerating 1983 biopic "Star 80" in which Eric Roberts' abusive husband shotguned to death his sexy wife, Playboy Playmate Dorothy Stratton (Mariel Hemingway), rather than lose control of her.
Suddenly, it’s Star 80 minus Bob Fosse’s artistic eye and Eric Roberts’ creepshow turn as Paul Snider.
Rather than follow the Boogie Nights template, Lovelace evokes Bob Fosse’s thematically similar Star 80 in its intimate take on the partnership between a violent hustler and the naïve, suggestible woman he feels the need to abuse and control.
The rest of Lovelace is strangely superficial and remote, constantly evoking two other, far better movies: Boogie Nights, Paul Thomas Anderson’s exuberant look at the adult film industry, and Star 80, Bob Fosse’s recounting of the death of Playboy centerfold Dorothy Stratten at the hands of the opportunist who “discovered” her.
Fosse might otherwise be a curious point of reference for a Gaspar Noé film, but in Climax, All That Jazz is a difficult point of reference to avoid, particularly as the film moves forward and drug use takes over as a primary ‘plot’ point.
‘Wicked’ era clasicismo en estado puro aunque su mecanismo interior nos llevaba a ‘Cabaret’, de Bob Fosse. Fosse, nombre capital en el musical como coreógrafo, bailarín y actor, rompió con las reglas del género en ‘Cabaret': la coreografía se lograba con el montaje en la moviola de las imágenes.
No es Cabaret, cuidado, pero como si lo fuese. Si se mira desde un poco de distancia, la película de Bob Fosse llegó a la cartelera el mismo año que fueron detenidos unos sujetos por entrar sin permiso en el complejo Watergate del Partido Demócrata y que sería el desencadenante del escándalo que acabaría con el mentiroso Richard Nixon.
…and “Cabaret’s” Joel Grey (who coincidentally played the Wizard role on Broadway)…
La La Land (2016)
Directed by Damien Chazelle
influenced by Cabaret (1972), All That Jazz (1979)
Themes Visuals
“La La Land” is long way from “West Side Story” or “Cabaret” — two great (determinedly tragic) musicals that this film tries to emulate.
In so many ways, “La La Land” is a throwback to all those classic musicals of the late 1930s, ’40s and ’50s, though it clearly shows the influence of such later productions as Jacques Demy’s “The Umbrellas of Cherbourg” and Bob Fosse’s “Cabaret.”
For depth, Sebastian has jazz and Mia has a dead aunt who jumped in a river in Paris once, leading to her Cabaret moment where she sings her heart out for stardom.
Stone drew on her Broadway experience as Sally Bowles in the revival of "Cabaret" starting in 2014.
But Stone has done Cabaret on Broadway and Gosling is a former member of the Mickey Mouse Club ... so all things considered, more than qualified.
Chazelle recruited Stone when she was performing Cabaret on Broadway.
Sam Mendes is known for directing plays with a fierce sexual edge, including The Blue Room and the current Cabaret revival (if nothing in American Beauty is half as devastating as the new Cabaret, it ain't for lack of trying), and first-time screenwriter Alan Ball was a theater major and playwright before making his name in television, writing for Cybill and Grace Under Fire.
A hotshot English theater director (his Cabaret revival is still on the boards in New York), Mendes gives the film a patina of New Age lyricism and layer upon layer of visual irony.
The view is courtesy of the British stage director Sam Mendes ( "The Blue Room," "Cabaret" ), and we've seen it before, no?
The first motion picture directed by theater veteran Sam Mendes ("The Blue Room," the "Cabaret" revival), "American Beauty" was written by Alan Ball, another Broadway vet and feature film rookie.
An obviously very personal film for Steven Spielberg, “The Fablemans” could easily be compared to Bob Fosse’s “All That Jazz” – without the naked women, of course.
It sometimes has a hallucinogenic feel, like All That Jazz (1979), but the thrilling energy of a Bollywood romance comes through in the end, matched with some D.W. Griffith-style last-minute races, and we're hooked.
Like his 1979 Oscar nominated film “All That Jazz” a lot of the action in “Punch” takes place within the protagonist’s imagination.
Babylon (2022)
Directed by Damien Chazelle
influenced by Cabaret (1972), All That Jazz (1979)
Themes
Mostly “Babylon” sticks to Pitt, Robbie and Calva, though the real protagonist is Chazelle’s notion of what Sally Bowles in “Cabaret” called divine decadence, light on the divinity.
If you told me somebody’d strapped the Columbia Pictures logo torch-lady down, forked her eyelids open Clockwork-Orange -style, and made her watch the finale of All That Jazz on repeat until Babylon crawled out, I’d believe you.
Once Upon a Time... in Hollywood (2019)
Directed by Quentin Tarantino
influenced by Sweet Charity (1969)
There’s a poster for Bob Fosse’s Sweet Charity hanging outside a theater.
Birdman or (The Unexpected Virtue of Ignorance) (2014)
Directed by Alejandro G. Iñárritu
influenced by All That Jazz (1979)
Plot
The performer in question is named Riggan Thomson, and as assayed by Michael Keaton, he’s the most meta thing about Alejandro González Iñárritu oddball update of Bob Fosse’s semi-autobiographical masterwork All That Jazz .
In his first starring role as every girl's psychopathic dream date in "Fear," Wahlberg proves himself the spookiest sweetheart since Eric Roberts preyed on poor Mariel Hemingway in "Star 80."
It doesn't help that in one pivotal scene Leto shows up in white tie and tails, looking for all the world like Joel Grey in Cabaret.
When Bob Fosse made "Cabaret," he completely reimagined it for the screen.
Given creative carte blanche, he seems to have crammed every idea he’s ever had about life, art and that enigma whose name is woman into a single, totemic work — his 8½, his All That Jazz.
Re-creating the meticulous sense of 1930s atmosphere that Richard Piers Rayner brought to the graphic novel are production designer Dennis Gassner and costume designer Albert Wolsky, a two-time Oscar winner, for "All That Jazz" and "Bugsy."