Sally Bowles (Liza Minnelli) is an American living in Berlin in 1931 and is a musical performer at the Kit Kat Klub. Brian Roberts (Michael York) is a British student and writer. He teaches English and lives in the same boarding house as Sally. As the two connect, the culture around them shifts with the gradual rise of the Nazi party. The film is based on the Broadway musical with songs by John Kander and Fred Ebb. The original material is from the novel "Goodbye to Berlin" by Christopher Isherwood.
"Cabaret" is an unusual musical in that the players do not break into song to advance the plot. Instead, whenever a dramatic shift takes place, the film moves to the Kit Kat Klub where a stage number parallels recent events. And every one of those numbers is brilliant. The first two numbers, "Willkommen" and "Mein Herr" are perfectly choreographed and edited. Minnelli is at her best with "Everybody Loves a Winner" and the film's title song. As the club's Master of Ceremonies, Joel Grey - whose performance is on the stage only (the only exception being a brief, silent facial exchange with Sally backstage) - has great moments as well. He is especially haunting with his delivery of the last line in "If You Could See Her Through My Eyes". Other great musical numbers include "Money, Money" and "Two Ladies".
In addition to the connection between Sally and Brian, another romance takes place between two of Brian's English students: Fritz (Fritz Wepper) and Natalia (Marisa Berenson). Fritz is a social climber of limited economic means and Natalia is a judicious member of a rich Jewish family. This secondary love story has a fascinating twist in the second half especially considering the rising tensions against Jews in Berlin at the time.
And Sally and Brian have an alluring twist as well when they both meet Maximilian (Helmut Griem), a baron who invites them to an elaborate estate on a weekend. The lightness and frivolity of this scene are matched with a later scene between the romantic leads in a room filled with lit candles including those placed on the inside of a disc while a record is playing. Minnelli and York are a great pair and the ups and downs of their relationship are excellently conveyed.
The film ends in a similar way it began but with major differences in mood and clientele in the club leaving a very foreboding feeling as to what is to come in Germany and Europe - something the audience already knows. This is expertly captured by director Bob Fosse who did a brilliant job overall in this very sophisticated film with a great cast.
A very unique musical and one of the best, too. - dbamateurcritic
RATING: 10 out of 10 (after six viewings)
OUTSTANDING ACHIEVEMENTS:
Directing by Bob Fosse
All musical numbers (Choreography by Bob Fosse; Songs by John Kander and Fred Ebb)
Cinematography, Editing, Set Design, and Costumes.
"Cabaret" is an unusual musical in that the players do not break into song to advance the plot. Instead, whenever a dramatic shift takes place, the film moves to the Kit Kat Klub where a stage number parallels recent events. And every one of those numbers is brilliant. The first two numbers, "Willkommen" and "Mein Herr" are perfectly choreographed and edited. Minnelli is at her best with "Everybody Loves a Winner" and the film's title song. As the club's Master of Ceremonies, Joel Grey - whose performance is on the stage only (the only exception being a brief, silent facial exchange with Sally backstage) - has great moments as well. He is especially haunting with his delivery of the last line in "If You Could See Her Through My Eyes". Other great musical numbers include "Money, Money" and "Two Ladies".
In addition to the connection between Sally and Brian, another romance takes place between two of Brian's English students: Fritz (Fritz Wepper) and Natalia (Marisa Berenson). Fritz is a social climber of limited economic means and Natalia is a judicious member of a rich Jewish family. This secondary love story has a fascinating twist in the second half especially considering the rising tensions against Jews in Berlin at the time.
And Sally and Brian have an alluring twist as well when they both meet Maximilian (Helmut Griem), a baron who invites them to an elaborate estate on a weekend. The lightness and frivolity of this scene are matched with a later scene between the romantic leads in a room filled with lit candles including those placed on the inside of a disc while a record is playing. Minnelli and York are a great pair and the ups and downs of their relationship are excellently conveyed.
The film ends in a similar way it began but with major differences in mood and clientele in the club leaving a very foreboding feeling as to what is to come in Germany and Europe - something the audience already knows. This is expertly captured by director Bob Fosse who did a brilliant job overall in this very sophisticated film with a great cast.
A very unique musical and one of the best, too. - dbamateurcritic
RATING: 10 out of 10 (after six viewings)
OUTSTANDING ACHIEVEMENTS:
Directing by Bob Fosse
All musical numbers (Choreography by Bob Fosse; Songs by John Kander and Fred Ebb)
Cinematography, Editing, Set Design, and Costumes.