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Rating:  -
Although a musical, Cabaret is not silly or awkward as all but one of the songs takes place on the stage of the Cabaret, and the one exception is performed at a political rally (of sorts). Songs and story alike are brutally realistic as the facade of morality is stripped away to reveal how people really act when their needs are not being met. But this is not a gloomy movie. Rather, it is entertaining - and overtly seductive, being directed and choreographed by Bob Fosse, the master of sexual choreography.
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I first saw Cabaret on Broadway in April 1968, wit the original Broadway Cast. I thought that it was fantastic. We talked about it for several days after seeing the production.We enjoyed the play so much that when the movie was released in 1972 we were in no hurry to see it knowing that it couldn’t compare with the play. After several friends encouraged us to see it we gave in, took a drive to the local multiplex, bought the tickets and reluctantly entered the darkened theater expecting to be proven right in that no movie could possible be better then the Broadway play. How wrong we were, the move was so far superior to the play it was like it was two different stories. Happily some of the songs that didn’t work on Broadway were left out and the movie cast did great credit to all of the music in the show. In my eyes nobody but Liza Minnelli could play Sally Bowes. Joel Gray was good on Broadway but he was fantastic in the movie.
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I remember when they bring Cabaret to Broadway or the West End like they recycle musicals but to me, Cabaret with Liza Minnelli and Joel Grey are the epitome of perfection in the film. You don't mess with perfection or come close to it with these two brilliant performers on stage. Liza gave the role of a lifetime as Sally Bowles, a London singer, who they Americanize her in this film. Fine because it works and nobody sings or belts out the songs better than Liza does. In this film, it is dark Berlin where Nazism and anti-Semitism is on the rise since World War I has ended leaving Germany to pay for it and the onset of World War II. The chilling scenes of Nazism and the rise of it's evil power is done simply in the song, "Tomorrow Belongs to Me," with the unsuspecting Germans not realizing about the true meaning of the song. Sally Bowles has led quite sad life despite her upbeat personality. I don't think Liza ever played a role as suitable or close to her personality as Sally Bowles. Liza is not just Judy's daughter but Liza Minnelli is her own person. She can make you cry and laugh with one breath and you want more. The ending is somewhat vague as if it presents what will come to Germany. I get shivers and chills down my spine when the music has ended and the film is done as if knowing what lies head isn't horrifying enough.
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One of the better musicals and great Fosse choreography. Joel Grey is stupendous as the MC and his musical skits are great entertainment. Liza Minnelli is supreme as Sally Boles.
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Christopher Isherwood, the author of THE BERLIN STORIES, where the character Sally Bowles came from in the first place, is quoted in the documentary "Chris and Don" as saying that Liza Minnelli wasn't right for this movie because she was far too good since Sally Bowles was an amateur performer and there was nothing that resembled an amateur about Minnelli's performance. She gives a performance here that is perfect and deserves to be seen again and again. She comes alive in every scene (her mother would have been proud of her) and won an Oscar for best actress along with Joel Grey (Best Supporting Actor) and Bob Fosse for Best Director. If you are counting, there were five more Oscars awarded to this movie on Oscar night as well. The cinematography is by Geoffrey Unsworth; the music by John Kander and Fred Ebb.
Watching this film for the first time since I saw it in 1972, I noticed how much Michael York's character here is similar to the one he played in "Something for Everyone," released a few years before "Cabaret." Hal Prince, who produced this film was the director of that fine movie and Kander is responsible for the soundtrack.
The story of course is all about the "divine decadence," as Sally would say, in Berlin in the years leading up to the outbreak of World War II. When a young blond angelic German lad sings "Tomorrow Belongs To Me" and is joined by a whole host of others as the song swells in volume, we get a chilling preview of what will take place soon in Germany and the rest of Europe.
"Cabaret" is quite simply a perfect movie.
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