As Michael and Robert, a gay couple in New York, prepare for Robert's departure for a two-year work assignment in Africa, Michael must face Robert's true motives for leaving while dealing ... See full summary »
In 19th century Denmark, two adult sisters live in an isolated village with their father, who is the honored pastor of a small Protestant church that is almost a sect unto itself. Although ... See full summary »
Sally Bowles, an American singer in 1930s Berlin, falls in love with bi-sexual Brian. They are both then seduced by Max, a rich playboy. Sally becomes pregnant, and Brian offers to marry her... All the characters are linked by the Kit-Kat club, a nightspot where Sally sings. Written by
Colin Tinto <email@example.com>
The strange woman appearing at the beginning of the movie sitting in the back of the Kit Kat Club holding a cigarette is based on the painting "Portrait of Journalist, Sylvia Von Harden" by German Expressionist painter Otto Dix. See more »
After she's tried to seduce Brian, Sally brings her record player into his room and plays a record....this is the 1930s so the record should be spinning at 78rpm. But it isn't...it's clearly playing at 33. See more »
Of course, I may bring a boyfriend home occasionally, but only occasionally, because I do think that one ought to go to the man's room if one can. I mean, it doesn't look so much as if one expected it, does it?
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An eerie, glowing tinderbox full of grinning souls and desperate laughter...
Pre-Nazi Germany is a hotbed of escalating tensions, but decadent nightclub performer Sally Bowles is oblivious to the encroaching horrors. If you know a little about Liza Minnelli and you're curious, "Cabaret" should make you a fan; if you're not interested or just don't like her, "Cabaret" probably isn't the movie for you. Liza is the heart, soul, and centerpiece of the picture; when she's on-screen, everybody else is irrelevant. Movie-fans still discuss whether Liza was actually acting the role of Sally Bowles or just being herself (her Oscar-win still draws debates--Diana Ross in "Lady Sings The Blues" is oft-times described as 'robbed' for the Best Actress statue). Indeed, time has proved that Minnelli had a whole lot in common with Sally, the parallels are even echoed in much of the dialogue, but this part utilizes her entire range (sarcastic sass, vulnerable imp, high-powered musical presence) and she's fabulous. She doesn't do anything small, even her quiet moments are extraordinary. Her final speech to Michael York ("How soon would it be before we started hating each other?") is a knockout, as good as any of her musical numbers, and when he lashes out in anger, she sighs, "If you wanna hit me, why don't'cha just hit me?" She can be fragile and wounded, but it's in her spirit to get right back up and perform. The film is a burlesque nightmare, amazingly directed and photographed, filled with great actors and songs and a deadly-serious finale. It's a classic. **** from ****
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