Dalbert Pringle OK. Aside from Liza Minnelli's somewhat abrasive singing and her hideous eye make-up, as well - (Along with the story containing some totally unwelcome Nazi-glorification in its "Tomorrow Belongs To Me" sequence) - I certainly thought that, for the most part, 1972's "Cabaret" was one of the better Musical/Drama/Comedy pictures that I've seen in some time.Set in Berlin (circa 1931) - Cabaret's best moments were, of course, its well-staged musical numbers (choreographed by director, Bob Fosse). It was especially showstoppers like "Maybe This Time" and "Mein Herr" that were the real standouts.A winner of 8 Academy Awards - Cabaret was a fairly stylish and socially conscious production. And, believe it, or not - Included in Cabaret's story of ruthless gold-digging and dreams of "being a somebody" - It also featured one of the first-ever mixed-gender love triangles to be seen in a mainstream, Hollywood picture.

LeonLouisRicci No matter what Your Opinion of this Musical-Drama Gem, it Stands Alone amidst a Genre with its Ultra-Stylish Expressive Entry that is Like No Other. Bob Fosse made Few Movies (his heart was definitely in the Theatre) but Almost All of them are Excellent.This One may be the Most Excellent. It's fine Cast are Alluring and Fosse's Camera says in no uncertain terms "I am Camera" and will not be Denied. The Editing is Distinctive as it Links the "Real Life" Political and Social Concerns of the Day with the Rise of the Nazis in 1930 Germany. The on Stage Numbers seem to profoundly Defy the "Brown Shirts".That Defiance is Intercut as the Film Peppers back and forth between the Stage and the Street Brutality frequently and is Powerful the way it Hammers the Surreal with the Real. Almost All of the Musical Numbers are Displayed Distinctively as Reflections of the Undeniable that something Devastating is Happening to the Country and its People.Its People are in a Decadent Mood and the Cabaret is where They go to Display and Play. Liza Minnelli is the Fulcrum the Film finds its Message and its Story. She is Simply "Divine" as the Playfully and Aloof Sally Bowles as She Parties like there is No Tomorrow. Speaking of Tomorrow...If the Song "Tomorrow Belongs to Me" doesn't send Chills to Your Sensibilities and Receptors, You're not paying Attention and are Heartless. In Fact, many of the Songs are Sublime Recreations of the Human Condition and are Classic Pop Culture Contaminants that Entertain and Posses. The Film is Possessed and Joel Grey as the Devil Incarnate Winks at the Audience as He Unveils Their Sins and Relishes that the Nazis are even more Corrupt than the Patrons.

brchthethird The pursuit of happiness, enshrined as a right in the US Constitution, is one of the greatest motivating factors in all of human history. It can also be one of the biggest distractions. CABARET, from the musical by Kander and Ebb and directed by Bob Fosse, is sort of an examination of this through the historical lens of late Weimar Germany as it succumbed to Nazism. Liza Minnelli is Sally Bowles, a dancer/singer at the Kit Kat Club who has dreams of becoming a famous actress; and Michael York is Brian Jordan, an English philosophy student who is in Germany for cultural enrichment and to make some money. Both of these tragic figures are the conduit for the audience, with Sally being the fantasy side of things and Brian being the reality. As with CHICAGO, although a little less so here, the musical numbers don't just move the story along (all while being organic) but also comment upon it as well. This, for me, is what sets Kander/Ebb musicals apart from the rest. Nazism begins as a mere nuisance but, as the film progresses, becomes more of a presence (and present threat). This is mirrored in the pacing of musical sequences which are initially spaced out a little sparsely but become more frequent as the film goes on. From an interpretive standpoint (and this is just my opinion), this implies (through the nature of what a cabaret is and entails) that our willingness to be entertained and distracted, even if only temporarily, is what allows political extremism/tragedy/etc. to insidiously take hold. No scene in CABARET is more chilling than when the young Nazi starts singing (what I think is) a folk song, and his audience gradually joins in with him. In fact, this entire musical is filled with pathos of varying types, which is why I think it's so effective. The cabaret is a metaphor for the ways we try to mask our pain, to find happiness, but it often comes at the expense of our dignity. From a technical perspective, all of the performances were solid with special marks being given to the leads. However, Joel Grey as the Master of Ceremonies was just as entertaining, perhaps the most so as his role provided dramatic and musical unity to the film. He was also simply hilarious to watch. There was also dynamite editing, choreography, lighting, etc., making it a sort-of ancestor to the music video. If there's one complaint I can levy, it's that the film takes a little too much time to get going, although once it gets into gear it doesn't let up. All things considered, CABARET is a stunning accomplishment that still holds relevance in this day and age of disillusionment with the political establishment. I'm a little hesitant to draw parallels between the America of today and the Germany of then, but it's a little disconcerting to feel like the only thing keeping us from making the same mistakes is that we've never suffered the abject humiliation that Germany suffered at the end of WWI. On a more positive note, CABARET exists as a testament to the power of entertainment, and definitely deserves its status as one of the best musicals ever put to film.

usersince03 My first encounter of the film when I was around 17, it was shown on the television which was around the 30th anniversary and round the time Liza Minnelli was married to David Gest. As soon as I watched the film I bought it on video for myself and it was a film I watched more than once. The cast were great including Joel Grey, Marisa Berenson and Michael York. Liza Minnelli was great as the Cabaret singer Sally Bowles, there are some scenes where she sounded like her mother Judy Garland for example the part where she tells Brian (Michael York) why she had an abortion. The soundtrack is brilliant my favourite songs are Two Ladies and Money Makes The World Go Round. There were scenes which were disturbing like the dog being killed because it's owner Natalia (Marisa Berenson) was Jewish.