Cabaret (1972)
Cabaret is an enigma for me as it checks all the boxes for me and yet I can’t seem to really get into it.
Aspects I love: Liza Minnelli, a depressing musical, historical depiction of Weimar Germany, Art Deco, gay sex and romance.
And yet…I just can’t seem to love it. I saw it about 10 years ago and thought I just wasn’t in a mood to enjoy it, but I’m watching it again tonight on HBO Max and I still can’t get into it.
Anyway, I thought it was time for a new discussion about the film. The thread from 2021 didn’t get very far and it’s locked.
Offsite Linkby Anonymous | reply 106 | April 2, 2024 2:05 PM
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You say you love Liza Minelli but it is her manic energy which makes the film hard to watch
by Anonymous | reply 1 | April 1, 2024 2:44 AM
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There is so much to enjoy in that film.
by Anonymous | reply 2 | April 1, 2024 2:47 AM
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The movie should be best remembered for Liza Minelli's hairdo which she still adheres to 52 years later.
by Anonymous | reply 3 | April 1, 2024 2:53 AM
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I agree, OP. On paper I should love Cabaret and something about it has never worked for me, on screen or on stage.
by Anonymous | reply 4 | April 1, 2024 2:53 AM
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OP - I think the problem is watching the whole movie. It's long and drags in parts. I really only enjoy watching the stage numbers, a few key scenes and some snippets. If I had the time and talent I would make a 30 minute re-edited version. I would call it "Cabaret... In Shnippetsh".
by Anonymous | reply 5 | April 1, 2024 2:58 AM
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How many other musicals made more than fifty years ago don't feel dated?
by Anonymous | reply 7 | April 1, 2024 3:14 AM
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R5 I also think the problem is that it’s more of a snapshot of a few days here and a few days there without telling an entire story.
by Anonymous | reply 8 | April 1, 2024 3:14 AM
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I agree it's too long. The first time I saw it, I gave up from Liza exhaustion; she was too much. On subsequent viewings, I came to the same conclusion as R5: It's better if viewed in snippets. The musical numbers are great stand-alones.
by Anonymous | reply 9 | April 1, 2024 3:15 AM
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[quote]I gave up from Liza exhaustion
Tell me about it.
by Anonymous | reply 10 | April 1, 2024 3:29 AM
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I prefer Isherwood's story.
Less singing, more depth.
by Anonymous | reply 11 | April 1, 2024 3:47 AM
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I love it! The set pieces are fantastic, and the acting is almost always superb. I love Lisa when she's on the stage, but she seems miscast in other segments. It's an elegant movie about an ugly time.
by Anonymous | reply 12 | April 1, 2024 3:56 AM
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I love it! The set pieces are fantastic, and the acting is almost always superb. I love Lisa when she's on the stage, but she seems miscast in other segments. It's an elegant movie about an ugly time.
by Anonymous | reply 13 | April 1, 2024 3:56 AM
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I like the stage show much more than the movie. Better story and all of the glorious songs!
by Anonymous | reply 14 | April 1, 2024 3:59 AM
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R3 - she has had other styles.
Offsite Linkby Anonymous | reply 15 | April 1, 2024 4:04 AM
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I thought Liza had less manic energy in "Cabaret" than in "The Sterile Cuckoo."
by Anonymous | reply 16 | April 1, 2024 4:08 AM
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It was an incredible film -but it wasn't the Broadway musical. I missed the original songs and story.
by Anonymous | reply 18 | April 1, 2024 4:17 AM
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No one but Liza could have played Sally Bowles.
by Anonymous | reply 19 | April 1, 2024 4:17 AM
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If you enjoy Vincente Minnelli in heavy eye makeup singing and dancing in Greenwich Village in the 20s Cabaret is the movie for you.
by Anonymous | reply 20 | April 1, 2024 4:21 AM
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It’s astonishing how contemporary and fresh so much of it feels, largely due to Fosse’s employment of then very avant garde cinematography and editing decisions. Then again, many credit him with veritably creating the entire MTV music video model with this film (and also All That Jazz). I do miss the multitude of cut songs from the stage version, but it undoubtedly works in an arguably more dynamic and compelling way, even 50 years later. A masterpiece.
by Anonymous | reply 21 | April 1, 2024 4:22 AM
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I’m in the middle of watching it now. Recorded it off TCM via YouTube TV. I know I’ve seen it before, but I’m really not remembering much of it so far.
by Anonymous | reply 22 | April 1, 2024 4:42 AM
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Good movie until they finish "Tomorrow Belongs to Me". Then you can just turn the show off.
by Anonymous | reply 23 | April 1, 2024 5:37 AM
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Wasn't the main character supposed to be WH Auden?
by Anonymous | reply 24 | April 1, 2024 5:59 AM
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An audenary Brit in 1930s Berlin.
by Anonymous | reply 25 | April 1, 2024 6:01 AM
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[quote]I love Lisa when she's on the stage, but she seems miscast in other segments.
It's Liza with a Z, not Lisa with an S.
by Anonymous | reply 26 | April 1, 2024 6:04 AM
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[quote]R3 The movie should be best remembered for Liza Minelli's hairdo which she still adheres to 52 years later.
HER hairdo?
[italic]Fuck you!
Offsite Linkby Anonymous | reply 27 | April 1, 2024 6:12 AM
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Yeah but Liza has a widow's peak.
by Anonymous | reply 28 | April 1, 2024 6:14 AM
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Yesh, my father… he wash sho funny and schmart… the great Vinschente Minnelli… he shaid I schould have a, ya know, “look” for thish part in a Bob Fosshe film. He said two wordsh to me: “Louishe Brooksh”… and the resht ish hishtory..
by Anonymous | reply 29 | April 1, 2024 6:18 AM
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"Cabaret" is one of the finest movie musicals ever made.
by Anonymous | reply 30 | April 1, 2024 6:18 AM
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Liza was quite subdued as Sally Bowles.
Offsite Linkby Anonymous | reply 31 | April 1, 2024 6:54 AM
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R27, Ellie Snyder always reminded me of Louise Brooks.
by Anonymous | reply 32 | April 1, 2024 7:27 AM
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Some movies should be viewed as people once viewed opera (and still do, in some European cities). Watch Cabaret in a social setting, with friends, and don't hesitate to go to the kitchen, the bar, the bathroom, outside for a smoke, into the guest room for a quickie, whatever. Just don't force yourself to be glued to the screen, rather watch what grabs you. So many movies become enjoyable in this way. All the ones that drag on but are otherwise colorful and filled with great performances.
by Anonymous | reply 33 | April 1, 2024 7:44 AM
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R27, I think you mean MY hairdo, Lulu!
Offsite Linkby Anonymous | reply 34 | April 1, 2024 7:51 AM
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We're not supposed to LOVE anything during the Nazis, it's more about reveling in the characters' hedonism, their moments in the midst of the surrounding, impending holocaust. Fiddling while it burns, so to speak, and we observe with pathos, cannot help that, because we have the vantage point of history.
by Anonymous | reply 35 | April 1, 2024 12:19 PM
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Watching Liza have a manic, coke fueled breakdown is at the core of her performing style.
And Joel isn't gay.
by Anonymous | reply 36 | April 1, 2024 1:42 PM
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Michael York is bland. He makes the whole thing seem long and sleepy.
by Anonymous | reply 37 | April 1, 2024 1:48 PM
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I love the more iconic songs but thought it otherwise a little bit meh until i saw it on stage and loved it, even the lesspr songs. I agree it is the Liza effect that make it (for me) a movie i don’t wish to revisit (except for the chilling Tomorrow Belongs to Me scene, i watch often on you tube when i am feeling politically lethargic).
by Anonymous | reply 38 | April 1, 2024 1:52 PM
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I was young. I got a warm and fuzzy feeling and a hard-on when I heard this snippet of conversation:
Brian: Screw Maximilian!
Sally: I do.
Brian: So do I.
by Anonymous | reply 39 | April 1, 2024 2:04 PM
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"Tomorrow Belongs to Me" was dubbed by actor Mark Lambert, who originated the role of Henrik in A Little Night Music. He was married to Victoria Mallory, who played his stepmother, Anne. Victoria was also Young Heidi in the original cast of Follies!
by Anonymous | reply 40 | April 1, 2024 8:03 PM
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This is and probably will always be my all-time-favorite movie (and I hate musicals, as a rule), so I'll thank you nit-pickers to leave it alone.
There. I said it.
by Anonymous | reply 42 | April 1, 2024 9:05 PM
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It is narratively anticlimactic. It immerses you but doesn’t hook you. What is the character’s challenge?
Roxy Hart: get off for murder
Eliza Doolittle: pass as a Lady
Gypsy Rose Lee: prove that she was talented all along
Sally Bowles: ?
by Anonymous | reply 43 | April 1, 2024 9:11 PM
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I never liked it either, OP. First saw it in 1972 with people who had seen the B’way show (loved it), and they couldn’t get into the film version. Tried to watch it again a few times since, still don’t like it.
by Anonymous | reply 44 | April 1, 2024 9:15 PM
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[quote]Tried to watch it again a few times since, still don’t like it.
I've always loved this movie, but now I'm going to have to reevaluate my opinion. Thank you, DL contrarians, for opening my eyes!
by Anonymous | reply 45 | April 1, 2024 9:28 PM
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r39 the line was originally “Fuck Max”. It was censored. Similar to Streisand’s line in The Owl and the Pussycat. Made a nonsense of both scenes v
by Anonymous | reply 46 | April 1, 2024 9:33 PM
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Emma Stone’s character in Poor Things has a very vaguely defined challenge but it IS a challenge. That is why the audience empathizes with her absurd character.
Sally Bowles has no central challenge, and Michael York’s character has no central challenge. Observe the rise of Naziism. Okay, I’m observing. Remember the Julie Harris play adaptation of Farewell to Berlin was called “I Am a Camera.”
by Anonymous | reply 47 | April 1, 2024 9:38 PM
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A dubious record Cabaret held for a very long time was “most Oscar nominations without winning Best Picture”. That record was surpassed by La La Land. A movie with the EXACT SAME PROBLEM. A male and female who are misfits in this strange world and don’t really fit in but there are no real stakes, nothing to hook you.
I said this on here when it lost the Oscar
La La Land would have won Best Picture if Emma Stone’s character found out she was pregnant the same day she received the offer that made her a star, and aborted Sebastian’s baby to achieve her dream.
NOW the movie has stakes.
by Anonymous | reply 48 | April 1, 2024 9:47 PM
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1972 The Godfather, Deliverance, Cabaret...movies people clamored to see.
by Anonymous | reply 49 | April 1, 2024 9:50 PM
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Thanks for your thoughts/observations on this film, OP. I totally agree with your assessment: this movie should have "worked" much better than it did.
My take, for what it's worth: The whole atmosphere felt like the 1970s, not the 1930s. I know they tried with the costumes, etc. but it still smacks of 1972; perhaps too many brilliant colors (?) I don't know, but I agree with you.
by Anonymous | reply 50 | April 1, 2024 9:52 PM
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The threesome dance mad it plain what was happening with the slutty three, The shocked reaction to "I do" and "So do I' just didn't fit from either of them.
As for Fosse's shocking finale, he steals from himself several years after in the "All That Jazz" Air Rotica scene's finale.
As he uses it here for he first time I'd include it my rewatch it except it's stuck on the tail of half an hour of Lisa and Michael's tedious end of relationship.
Thinking only of the movie characters and not their real life counterparts I wonder how long it would take Sally to realize Berlin's future had no place for such an American artistic soul as herself. Or perhaps successfully adapt to the New Order with the help of "that man" from UFA.
Offsite Linkby Anonymous | reply 51 | April 1, 2024 9:58 PM
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R50 the reason is cinematographer Geoffrey Unsworth
During the 1970s, gauzy cinematography came into vogue. Unsworth shot some if the gauziest films of the 1970s, including Murder on the Orient Express, Tess and Superman.
Another big cinematographer of the era, Vilmos Szigmond, also used the coat of Vaseline (McCabe and Mrs. Miller, The Deer Hunter, Close Encounters of Third Kind)
Don’t forget, this is the decade Mame was filmed.
Offsite Linkby Anonymous | reply 52 | April 1, 2024 10:08 PM
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R52 - Thanks for making coherent sense out of my gut-level rambling!
by Anonymous | reply 53 | April 1, 2024 10:10 PM
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I will also point out that much of the public’s perception of how the 1930s should look on film has been shaped by Douglas Slocombe’s work on Indiana Jones.
If you can see this film in a theater. It is absolutely stunning. It is bright and crisp. Slocombe was a veteran of Ealing black and white pictures, he knew how to photograph the scene to evoke the cinematography of that era.
Offsite Linkby Anonymous | reply 54 | April 1, 2024 10:13 PM
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Subsequent films about the era usually adhere to crisp cinematography
John Seale’s Oscar winning photography for The English Patient
Offsite Linkby Anonymous | reply 55 | April 1, 2024 10:20 PM
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[quote]1972 The Godfather, Deliverance, Cabaret...movies people clamored to see.
I was clamoring to see What's up Doc, The Getaway, Lady Sings the Blues, The Heartbreak Kid and The Poseidon Adventure. Godfather too, Deliverance, sure. Not so much Cabaret. Oscar nominations does not equal excellence or enjoyment.
by Anonymous | reply 56 | April 1, 2024 10:29 PM
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R54 & R55 - While I agree with your premise, the films that defined the public's view of the 1930s was Paper Moon and The Pianist.
by Anonymous | reply 57 | April 1, 2024 10:30 PM
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"The whole atmosphere felt like the 1970s, not the 1930s." - Interesting point, r50. I can't really remember much of Cabaret, which I saw some years ago, but recently watched Just a Gigolo with David Bowie from 1978. I should say tried to watch, because it's fairly unwatchable.
The one thing that did strike me in Just a Gigolo, however, was the set and the clothes and the general physical material aspect, which did seem authentic to a degree, albeit a couple of degrees removed from the original. Which is exactly what it was for people in the 1970s - the 1930s were barely 40 years earlier, a much shorter period than the one which divides us from Cabaret and Just a Gigolo. The boarding house in Just a Gigolo is how I imagined the people making the film and in the film might have remembered their grandparents' living room. Some of the people in the movies were even around in the 1930s themselves, Dietrich, for example (who is sublime). Isherwood himself was still around when Cabaret was being made.
There was no colour film or photography in the 1930s, so we don't see that period "in colour", while people in the 1970s may even have had their own memories of the 1930s in the flesh so to speak.
I think the problem with Cabaret, however, what makes it not seem authentic is that it's at quite a remove from its original (early 1930s Berlin, Isherwood's books on early 1930s Berlin, the American musical, then the American film). Apparently Isherwood himself didn't like Cabaret the movie. I just watched a few clips, it seems to be trying too hard to capture what was in the process of becoming a mythologised interwar Berlin. The other problem is that it's based on a musical rather then on the books, and that limited the transition to film.
by Anonymous | reply 58 | April 1, 2024 10:41 PM
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[quote]Not so much Cabaret.
Well. that was you.
Cabaret was the 4th highest grossing film of 1972. (source IMDb)
by Anonymous | reply 59 | April 1, 2024 10:44 PM
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Oh please, there's a whole bunch of '30s films. Chinatown and The Sting, just to name a couple more.
by Anonymous | reply 60 | April 1, 2024 10:45 PM
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R60 - Chinatown DID NOT capture the feel of the '30s - totally ersatz; The Sting ABSOLUTELY HIT THE MARK. Don't ask me why . . .
by Anonymous | reply 61 | April 1, 2024 10:50 PM
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R60 Although depressing, Chinatown has a plot and you learn to care about the characters. The Sting is jolly good fun and can be rewatched again.
by Anonymous | reply 62 | April 1, 2024 10:50 PM
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[quote]The whole atmosphere felt like the 1970s, not the 1930s.
And "Singin' in the Rain" looks like 1952, not the 1920s. And is considered perhaps the greatest film musical of all time.
And "The Sound of Music" looks like 1965.
And all those "Old West" Westerns that look like the 1950s and 60s.
The films were being made for a mass audience with popular tastes. Concessions will be made.
by Anonymous | reply 63 | April 1, 2024 10:53 PM
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R63 doesn't, and never will, "get it".
by Anonymous | reply 64 | April 1, 2024 11:13 PM
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How do you people know what the atmosphere felt like the 1930s? You know from movies. Then you complain about those movies.
by Anonymous | reply 65 | April 1, 2024 11:17 PM
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[quote]the films that defined the public's view of the 1930s was Paper Moon and The Pianist.
How’s the meth addiction going?
by Anonymous | reply 66 | April 1, 2024 11:18 PM
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R64 You obviously know little about Hollywood cinema.
by Anonymous | reply 67 | April 1, 2024 11:19 PM
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[quote]While I agree with your premise, the films that defined the public's view of the 1930s was Paper Moon and The Pianist.
Oh c'mon...
by Anonymous | reply 68 | April 1, 2024 11:21 PM
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Marissa was so beautiful in this.
by Anonymous | reply 69 | April 1, 2024 11:35 PM
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I can't believe this fault-finding with a truly great movie musical. The sheer originality of it, the way the music was an organic element of the story instead of brushed on, how the Cabaret amplified decadence without exploiting it. "It gave decadence it's due". Do you realize how difficult that is? How crucial this is to this supposedly plotless movie and is the reason it ends with the Nazis INSIDE the Cabaret? Decadence has been corrupted, the show is truly over.
Sally Bowles had no character arc? Like uh, she shoulda got pregnant and aborted the baby or something. Funny that, because SHE DID. She chose the pursuit of stardom over husband and home.
You critics do not deserve this movie and probably haven't even seen it.
by Anonymous | reply 70 | April 1, 2024 11:36 PM
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R12/13, how many times do we have to tell you?
Offsite Linkby Anonymous | reply 71 | April 1, 2024 11:43 PM
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The silliness of criticizing the film for: "the whole atmosphere felt like the 1970s, not the 1930s."
That is a long Hollywood and Broadway tradition. The object was not to faithfully recreate an era. Artistic license was made.
Cabaret was first and foremost a contemporary entertainment, not a historical documentary.
It was a film musical, based on a Broadway musical, that was based on a play, that was based on a novel. Whew!
This is what the 1966 Broadway musical looked like. It looked like...well...1966.
Offsite Linkby Anonymous | reply 72 | April 1, 2024 11:59 PM
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The play was also made into a film in 1955 with Julia Harris as Sally Bowles.
And guess what? It looked like 1955.
Offsite Linkby Anonymous | reply 73 | April 2, 2024 12:04 AM
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^ never understood her “beauty”
by Anonymous | reply 75 | April 2, 2024 12:12 AM
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Also it should be noted that Liza was horribly miscast.
Although we can't imagine the film without her, Isherwood describes the character this way:
"She had a surprisingly deep, husky voice. She sang badly, without any expression, her hands hanging down at her sides"
Does that sound like Liza?
The girl that Sally was based on was 19 years old and was described this way:
"In my mind's eye, I can see her now in some dingy bar standing on a platform and singing so inaudibly that I could not hear her from the back of the room where I was discreetly seated."
But that's not the kind of character that's going to lead a great big Broadway musical. Kander&Ebb and Joe Masteroff had other ideas. No wonder Isherwood hated the film.
by Anonymous | reply 76 | April 2, 2024 12:22 AM
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Yes, r76, that’s why there is the much lauded theory that a good Sally Bowles is a bad singing Sally Bowles and Liza was to “good” for the character. It is a difficult balance. My problem with Minelli was mostly the overacting.
by Anonymous | reply 77 | April 2, 2024 12:44 AM
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I think Natasha Richardson stroke the perfect balance in this
by Anonymous | reply 78 | April 2, 2024 12:46 AM
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If nothing else…the streams of light emanating from Liza’ green fingernails at the ending of “Maybe This Time” …
by Anonymous | reply 79 | April 2, 2024 12:48 AM
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Eddie Redmayne Returns to Broadway as Emcee in ‘Cabaret at the Kit Kat Club NYC’
"Right this way, your table's waiting!" The iconic Kit Kat Club reopens its infamous doors with a splash, featuring Eddie Redmayne and Gayle Rankin as the powerhouse duo, Emcee and Sally Bowles, in the immersive, brand-new production Cabaret at the Kit Kat Club NYC.
This production, which initially captivated audiences in London’s West End, stands out for its fresh take on the classic, directed for a second time by Rebecca Frecknall and designed by Tom Scutt. It's anticipated to be Broadway's must-see show of the year, with previews beginning April 1 and a grand opening gala on April 20.
Offsite Linkby Anonymous | reply 80 | April 2, 2024 1:01 AM
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It gave decadence *its* due.
Oh dearing myself.
by Anonymous | reply 81 | April 2, 2024 1:06 AM
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Cabaret was one of the first "gown up" movies I ever saw. I was 12 when it came out and I didn't (at the time...) know I was a gayling - though I do remember Michael York piquing my interest. I liked the movie so much that I performed "Wilkommen" when I auditioned for the 8th grade talent show.
by Anonymous | reply 82 | April 2, 2024 1:27 AM
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I made a small mistake at r58: there was colour film in the 1930s, although it was not always used. Gone with the Wind was made in the 1930s in colour, but it had the feel of the 1860s! Liza's own mother starred in another 1930s classic movie that was shot in colour.
by Anonymous | reply 83 | April 2, 2024 1:28 AM
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Are y’all forgetting about Sally’s abortion?
by Anonymous | reply 84 | April 2, 2024 1:34 AM
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[quote]Gone with the Wind was made in the 1930s in colour, but it had the feel of the 1860s!
What?
It had the feel of late 1930s Hollywood.
Offsite Linkby Anonymous | reply 85 | April 2, 2024 1:36 AM
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It is almost universally thought that Fosse’s film treatment is a huge improvement over the stage musical.
by Anonymous | reply 86 | April 2, 2024 1:37 AM
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But it's just like the book, r85!
by Anonymous | reply 87 | April 2, 2024 1:38 AM
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R85, the description of your photo reads:
[quote](Original Caption) An American family of 1860. A composite group (individual photographs of the members of the family combined into a montage).
In other words, that isn't a family portrait.
by Anonymous | reply 88 | April 2, 2024 1:41 AM
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What a bunch of philistines. Please shut up and stop talking about Cabaret, probably one of the best and most culturally influential films ever made, let alone musical films. You people are nuts. You’re like the kind of idiots who buy purple ketchup. Just shut up.
by Anonymous | reply 89 | April 2, 2024 2:06 AM
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R70, a movie based on a Broadway musical is not “original”
by Anonymous | reply 90 | April 2, 2024 2:10 AM
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R90 = autism spectrum disorder
by Anonymous | reply 91 | April 2, 2024 2:30 AM
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Liza as Sally Bowles became such an iconic look.
Offsite Linkby Anonymous | reply 92 | April 2, 2024 2:35 AM
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[quote]probably one of the best and most culturally influential films ever made
The movie and Liza made a big big impact.
Offsite Linkby Anonymous | reply 93 | April 2, 2024 2:36 AM
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[quote] a movie based on a Broadway musical is not “original”
I would say it was original if you use the definition that it was created directly and personally by a particular artist, Bob Fosse. And it felt original if you had seen every movie musical up to that point.
by Anonymous | reply 94 | April 2, 2024 3:09 AM
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R76 - How did Isherwood feel about the film of I am a Camera? From memory Julie Harris sings in it but she is dubbed presumably because Julie Harris sang badly.
by Anonymous | reply 95 | April 2, 2024 3:20 AM
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I Saw Him in a Café in Berlin
Music by Ralph Maria Siegel English lyrics by Paul Dehn Sung by Liselotte Malkowsky [Sally (Julie Harris) sings the song in her club act]
by Anonymous | reply 96 | April 2, 2024 3:21 AM
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I just love this thread and especially all the detailed discussions of cinematography and era. Sometimes DL offers up a juicy reminder of why I come here
by Anonymous | reply 97 | April 2, 2024 3:36 AM
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[quote]R47 Sally Bowles has no central challenge
It was an ABORTION. An ABORTION, Michael.
There would be no way, Michael, no way you could ever forgive me. Not with this musical comedy thing that’s been going on for two thousand years.
by Anonymous | reply 98 | April 2, 2024 3:41 AM
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Another cinematographer who changed the perception of how the 30s looked was Gordon Willis
He had photographed the 40s in The Godfather, which very much had a 1970s look, but his 30s in Pennies from Heaven is radically different, evoking the warmth of depression-era Coca Cola advertisements
Offsite Linkby Anonymous | reply 99 | April 2, 2024 4:05 AM
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Like many other young gaylings in the audience, I was struck by the revelation between Brian and Maximilian. I also had a very... visceral reaction to actors Helmut Griem and Fritz Wepper (as well as Michael York). The film really was dazzling. It made Liza a total icon (gay and straight). But I still like the original stage version better.
by Anonymous | reply 100 | April 2, 2024 4:08 AM
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And the Purple Rose of Cairo, which simultaneously had to evoke a word which was colorful but also bleak
Offsite Linkby Anonymous | reply 101 | April 2, 2024 4:10 AM
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I first saw Cabaret as a teen in the early 90s. It was my introduction to Liza. Loved it, loved the score the cinematography, set design. Everything. Great movie.
by Anonymous | reply 102 | April 2, 2024 4:11 AM
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If you look at the German films from the late 20s and early 30s (Pandora's Box, The Blue Angel, M, Diary of a Lost Girl). it seems pretty clear that Fosse, Jurgen Kiebach, Charlotte Flemming, and Rolf Zehetbauer did their homework.
Offsite Linkby Anonymous | reply 103 | April 2, 2024 5:25 AM
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Pandora's Box is a silent movie, underlining the rapid changes in technology in the 40 years between the 1930s and 1970s. I'm not sure trying to imitate German expressionism gives a more "authentic" feel to Cabaret.
by Anonymous | reply 105 | April 2, 2024 1:39 PM
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If you want a movie offering the real feel of the between wars Germany there is M.
Offsite Linkby Anonymous | reply 106 | April 2, 2024 2:05 PM
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