Cabaret
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Movie Reviews of Cabaret
Movie Review: Eat, drink, and be merry. . .
Summary: 5 Stars
One of the most politically and socially significant films ever produced, Cabaret is as unsettling as it is exhilarating. This 8-time Academy Award-winning film based on the controversial Broadway musical, tells the disturbing story of a fourth-rate American cabaret chanteuse trying to survive in Berlin during the final days of the Weimar Republic. The overriding concept of the film actually serves as a biting and painful metaphor for a morally bankrupt and self-indulgent society so intoxicated by its own rotting decadence and corruption that it fails-or more appropriately, refuses-to realize that it is about to dive head-first into the fires of an apocalyptic nightmare that will ultimately cost the lives of over 11 million people. Liza Minnelli is astounding in her star-making role as the deluded and self-absorbed nightclub singer Sally Bowles, based on the infamous character of Christopher Isherwood's novel, "Goodbye to Berlin." Bob Fosse deserved his Best Director Oscar for creating a hyper-stylized visualization of Berlin as it was rotting to the core in the early 30s just as the Nazis were gathering in the wings. But the real show-stopper here is Joel Grey, the horrifyingly demonic and sneering Master of Ceremonies, shrugging his shoulders and smirking at us through the camera with a disturbingly hypnotic twinkle in his eye acknowledging that we all know exactly what history has in store.
Cabaret can be thought of more than just a musical. Unlike the unrealistic musicals of the 40s and 50s in which the characters burst into song out of the middle of nowhere, the musical numbers here are strictly prohibited to stage numbers at the Kit Kat Klub, an alteration from the Broadway version that significantly adds to the reality of this spectacle. Furthermore, if you want to get the entire message of the film in a minute and a half, pay particular attention to the scene when Sally, Brian and Max are driving through downtown Berlin. Listen closely to their conversation juxtaposed against what they are observing on the street outside the car. If taken into social and historical context, the scene is so unnerving, you'll be left speechless.
Overall, if you want to watch a film that is not only an important lesson on the fragility of humanity, but could also be a mirror for contemporary society, then don't miss Cabaret. The movie's ending will leave you (as it did me the first time I saw it) in stunned silence, thinking twice about social apathy in the context of the potentially devastating nightmare we are now experiencing at the dawn of the 21st century.
Movie Review: Divine Decadence
Summary: 5 Stars
I just finished re-watching Cabaret and it is even better than I remembered it. It is a dazzling ball at the Satan, the Feast during the time of plague. It is an unforgettable film, made by the master, the screen version of his own stage masterwork. It is dark, prophetic capture of "divine decadence" that paved the road to the most horrifying hell of unspeakable catastrophe that the world had not seen before. Bob Fosse proved in his only second directed film how talented he was in everything he was doing. Shot entirely on the location in Berlin with the Kit Kat Club cabaret of the title as a real centerpiece of the movie, "Cabaret" is a marvel of directing, editing, color settings, that in combination with brilliantly clever and catchy songs, creates the doomed ambiguous atmosphere of uncertainty, hanging onto the present moment, and not daring to imagine to whom tomorrow belongs and what tomorrow will bring. It is impossible to talk about Cabaret and not to mention the international cast of the young talented actors who played the characters of their own nationality. Two definite stars of the film are without doubt Liza Minnelli as Sally Bowles and Joel Grey as creepy devilish MC. For me, the film belongs to Liza Minnelli who gave performance of such energy, charisma, and exuberance, that it has become Liza's calling card and, her claim to cinematic immortality. Under her rather intimidating makeup - her eyes that took up the good half of her face, the eyelashes so long that they can reach the opposite wall of the room, the impossible garish colors of her eyelids that probably glow in darkness unmistakably announcing her presence and colored in dark green finger nails that can be considered the dangerous weapon, Sally is vulgar but vulnerable, corrupted but lovable, oblivious but lonely, talented but stuck in the cabaret Kit Kat Club where the music never stops and life is always beautiful ...
In 1973, Cabaret competed for the Best Picture of the Year award with number one of 250 Best Movies as per IMDB users, Francis Coppola's Godfather. Not only it was the equal contender, it won 8 of ten Oscars it was nominated for, including Best Director for Bob Fosse, Best Actress for Liza Minnelli, Best Supporting Actor for Joel Grey (who was against three heavy weights from Godfather - Al Pacino, James Caan and Robert Duvall), and Best Art Direction-Set Decoration and Cinematography. With all my love for Godfather, I believe Cabaret deserved all its awards, and as time goes it proves to be one of the best screen musicals ever made.
Movie Review: "What good is sitting alone in your room...[Instead] come to the cabaret, old chum!!"
Summary: 5 Stars
+++++
This movie is based on the musical play "Cabaret" (also called "Goodbye Berlin"). The music and lyrics are by the great John Kander and Fred Ebb respectively. It was directed by, and the dance & musical numbers were staged by, the late, great Bob Fosse.
Personally, I'm not much for musicals but this movie is much more than a terrific musical. Don't get the idea that there's just singing and dancing. There's also a good story that delves into the corruption, decadence, and false dreams of Berlin in the early 1930s when Hitler was coming to power.
The story follows the life of Sally Bowles (Liza Minnelli) during this turbulent time. She is the so-called star of the Kit Kat nightclub that has an impish master of ceremonies (Joel Grey). Writer Brian Roberts (Michael York) intrudes in Sally's world, hoping to take the vacant room opposite hers. He soon learns that she is a ball of fire and energy.
Sally tells us of her dream:
"I'm going to be a great film star. That is, if booze and sex don't get me first."
The movie alternates between the real, difficult life outside the Kit Kat nightclub and the carefree life inside it where those who attend can forget their troubles and the troubled times.
The song and dance routines inside the Kit Kat Klub provide a sharp counterpoint to the real-life drama on the outside. Five songs from the original Broadway production did not make it into the movie as "performed" songs, but appear as background music.
The music, costumes, choreography, and acting are all exquisite. Especially impressive is the performance of Minnelli, awesome on the stage and equally convincing off it. Matching her is the fascinating performance of Grey as the Master of Ceremonies who injects humor and pathos as well as effervescence and solidity into the proceedings.
The last song and dance scene performed by Minnelli is historic and unforgettable!
This movie won eight Academy Awards including best actress (Minnelli), best supporting actor (Grey), and best director (Fosse).
Finally, the DVD itself (the one released in 2003) is perfect in picture and sound quality. It has a long list of interesting extras.
In conclusion, I would recommend that you go to this cabaret (old chum). You'll never want to leave!!
(1972; 2 hrs; wide screen; 32 scenes)
+++++
Movie Review: You're about as substantial as an after-dinner mint
Summary: 5 Stars
The above statement refers to Sally [Liza Minelli] who, although an attractive and talented girl is as superficial of a person as can be. This movie is an intelligent and colorful presentation of pre-Hitler, Weimar Germany and...I think...demonstrates the decadence and moral decay that made the ascension of the ultra-moralistic Nazis a possibility.
The setting is primarily the weird cabaret scene in Berlin with its denizen of oddballs, transvestites and general weirdos. Our protagonists...the Minelli and York characters...inhabit this world and aren't even German, being American and English respectively. York and Minelli establish an odd relationship, all the more strange because York is a homosexual and Minelli is having sex with anyone who will give her a bauble or offer to 'get her into pictures.' Another homosexual man is introduced producing a weird, three-way menage. Minelli gets pregnant and, not so remarkably, hasn't a clue as to who the father might be...one of her homosexual lovers or one of her old men who 'befriend' her.
Another distorted character is introduced. He makes his living as a giggolo but falls in love with a beautiful Jewish woman. Recognizing that the Jews are facing persecution, she rejects his advances. Her giggolo, however, 'fesses up' that he's a Jew passing as an Aryan.
Perhaps not so remarkably, the Nazis don't come off all so bad. Primarily they are in the background as brownshirts collecting donations and passing out propaganda leaflets. We see Communist and Nazi posters and graffiti posted everywhere on the walls. At one point, during a beer-drink, a lovely blond boy...one of the Hitlersjugend...sings a song of Volk und Vaterland. Beautiful young girls in the crowd stand up and pick up the strain. Finally everyone, with the exception of a couple of old skeptics, belt out a song of love and national power. For just a moment we are let into the secret of Nazi success. It feels absolutely wonderful to be part of a group striving for national love and unity....hope and change.
Of course it was a lie....a highjacking of the ideals of youth. I think we something of the same process now although I doubt that present day Americans are nearly as naive as post Great War, Weimar-era Germsns.
Movie Review: Sheer genius at work
Summary: 5 Stars
'Cabaret', beyond being the greatest film musical of all time, is one of the best movies ever made. It's multi-faceted plot allows it to be many things: glitzy but dramatic, frivolous but topical, bawdy but romantic, and humane but violent. Set in Germany while the Nazis are climbing to power, Cabaret focuses on Brian, an idealistic but confused Brit who becomes entangled with his charismatic neighbor, the divine Sally Bowles -- played to perfection by Liza Minnelli (who deservedly won an Oscar for Best Actress for her work). Sally is an aspiring actress working as a call girl / cabaret singer at the seedy Kit Kat Klub, overseen by the enigmatic, impish MC played by the inimitable Joel Grey (who also garnered an Oscar), a performance whose shadow looms large over any actor who has tried to take on the role in Broadway reincarnations since. Sally's innocent, doe-like eyes bely the difficulties of her situation and the political strife that is rising all over Germany (Sally, like several other characters in the film, doesn't take the Nazi threat seriously). Through the travails of Brian and Sally's relationship the film makes numerous pointed references to human nature and how inaction can lead to tragedy. The film also deals very heavily with intolerance -- not just of religion and race, but of sexuality (a truly bold step for a film of its time). Sprinkled throughout are some of the best and most intelligent songs musicals have to offer. My personal favorites are Sally's cautiously optimistic "Maybe This Time", Joel Grey's heartfelt rendition of "If You Could See Her" -- a romantic ode whose last line brilliantly makes a statement on the idiocy of intolerance -- and Minnelli's showstopping finale: "Cabaret". All of the musical numbers are flawless. The singing, the staging and the cinematography capture them brilliantly, and this is a credit to the genius filmmaking of Bob Fosse. Many might be surprised to discover that Fosse beat Francis Ford Coppola's directing of 'The Godfather' to take home the Best Director Oscar that year, but anyone who watches 'Cabaret' would have to agree with the Academy's decision. Fosse added his signature style to Cabaret and crafted an effecting, timeless, and relevant motion picture classic as unique as it is heartbreaking.