All That Jazz 1979

Joe Gideon (played by) is a whirlwind of creative intensity, simultaneously juggling the demands of staging his latest Broadway musical, NY/LA, while editing his own film, The Stand-Up. A self-proclaimed workaholic with a penchant for excess, Joe’s daily routine involves chain-smoking cigarettes, downing medication, and primping in front of the mirror to declare, “It’s showtime, folks!” - a ritualistic affirmation that belies the chaos brewing beneath his carefully constructed façade. His ex-wife Audrey Paris (played by) serves as a constant reminder of his past, disapproving of his womanizing ways while his live-in girlfriend Katie Jagger and young daughter Michelle provide fleeting moments of solace.

As Joe’s frustration with his editing job reaches a boiling point, he takes out his pent-up anger on the dancers and choreography, leading to an explosive rehearsal that pushes the boundaries of acceptable taste. The show’s backers are left perplexed by the spectacle, further fueling Joe’s sense of disillusionment. Amidst this turmoil, Katie and Michelle offer a beacon of hope with their heartfelt tribute to Fosse, moving Joe to tears and momentarily calming his turbulent emotions.

But just as Joe begins to regain some semblance of control, his physical health betrays him. During a table-read for NY/LA, he is struck by severe chest pains, prompting an emergency hospital visit where he is diagnosed with angina. With his condition worsening by the day, Joe becomes increasingly reckless in his hospital room, hosting an endless parade of women as he continues to smoke and drink despite his fragile state.

As his physical form begins to deteriorate, Joe’s relationships with Audrey and Katie become increasingly strained. The release of The Stand-Up is met with a scathing review, further exacerbating his emotional distress. In the end, Joe’s relentless drive for creative fulfillment ultimately proves too much for his fragile body to bear, culminating in a catastrophic coronary event that leaves him reeling.

As Joe’s life hangs precariously in the balance during coronary artery bypass surgery, the calculating minds behind NY/LA concoct a scheme to capitalize on Gideon’s impending demise. The prospect of reaping a windfall of over half a million dollars from insurance proceeds proves too enticing to resist, and they proceed to place bets on his mortality. Meanwhile, as Gideon’s life support systems hum along, his imagination runs wild with extravagant musical fantasies starring his daughter, wife, and girlfriend - each one a scathing indictment of his past transgressions. The cumulative weight of their displeasure drives home the inescapable reality that he cannot cheat fate.

As medical professionals strive to resuscitate him, Gideon seizes the opportunity to make a break for it, slipping away from his hospital bed under the watchful eyes of his caregivers. He embarks on a journey through the labyrinthine corridors and autopsy ward, reenacting the five stages of grief he had been editing into his stand-up routine: anger, denial, bargaining, depression, and finally, acceptance. As the specter of mortality draws nearer, his dream sequences become increasingly surreal, reflecting the turmoil brewing within him.

In a final, desperate bid to cling to life, Gideon’s imagination gives birth to an elaborate variety show featuring a veritable who’s who from his past. He takes center stage in a dazzling musical number, “Bye Bye Life,” a whimsical parody of “Bye Bye Love” that brings the house down. As his dying breath approaches, he finds solace in the knowledge that, even from beyond the grave, he can express gratitude to those who matter most - an opportunity denied him while lying in his hospital bed. With one final flourish, Joe’s dream culminates in a grand finale, as he travels down a hallway to meet Angelique at the end, before the film abruptly cuts to his lifeless form being shrouded in a body bag.