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Cabaret (1972)

PG  |   |  Drama, Musical, Romance  |  13 February 1972 (USA)
7.9
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Ratings: 7.9/10 from 33,994 users   Metascore: 80/100
Reviews: 174 user | 80 critic | 8 from Metacritic.com

A female girlie club entertainer in Weimar Republic era Berlin romances two men while the Nazi Party rises to power around them.

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(based on the musical play "Cabaret" book by), (based on the play by), 2 more credits »
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Title: Cabaret (1972)

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Won 8 Oscars. Another 27 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
...
Helmut Griem ...
...
Fritz Wepper ...
...
Elisabeth Neumann-Viertel ...
Helen Vita ...
Fräulein Kost
Sigrid von Richthofen ...
Fräulein Mayr (as Sigrid Von Richthofen)
Gerd Vespermann ...
Bobby
Ralf Wolter ...
Herr Ludwig
Georg Hartmann ...
Willi
Ricky Renée ...
Elke (as Ricky Renee)
Estrongo Nachama ...
Cantor
Kathryn Doby ...
Kit-Kat Dancer
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Storyline

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 <cst@imdb.com>

Plot Summary | Plot Synopsis

Taglines:

The Award-Winning Smash Hit Musical [UK Video] See more »

Genres:

Drama | Musical | Romance

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

| | |

Release Date:

13 February 1972 (USA)  »

Also Known As:

Kabare  »

Filming Locations:

 »

Box Office

Budget:

$6,000,000 (estimated)

Gross:

$42,765,000 (USA)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
See  »
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Did You Know?

Trivia

Originally sung in English, "Tomorrow Belongs To Me" was dubbed in German for the French and German versions of the film. See more »

Goofs

During the song "Cabaret", Sally's "cross your heart" halter dress changes from crossing left-over-right to right-over-left and back between shots. See more »

Quotes

Brian: [after trying a prairie oyster for the first time] Peppermint prairie oysters?
Sally: Oh, you got the toothpaste glass!
[laughs a little]
See more »

Connections

Featured in The 65th Annual Academy Awards (1993) See more »

Soundtracks

So What
(uncredited)
Written by John Kander and Fred Ebb
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Divine decadence
15 February 2006 | by (Paris, France) – See all my reviews

Director Bob Fosse hasn't achieved an immense degree of recognition, but his movies have a distinctive flavour. He seems to have an obsession with the world of music-hall, which is felt in other movies like "Sweet Charity" and "All that Jazz". In his other movies though, musical performances tend to steal the show almost entirely. "Cabaret" is an exception because it has an interesting background and storyline, and the music-hall performances are cleverly used here to illustrate and emphasize the plot. They play about the same role as the Chorus in ancient Greek play.

Of course, the depiction of Cabaret's "Kit Kat Club" deserves attention all by itself. It is not surprising that a cabaret buff such as Bob Fosse took interest in the Weimar Republic period in Germany, when "divine decadence " was the name of the game. Only Bob Fosse could recreate with such consumed application the grotesque sleaze of Berlin's lowlife during the rise of Nazism, a context which served as inspiration for expressionist painters, and for Brecht's "Threepenny Opera". During the credits, check out a woman in the public with short hair and glasses smoking a cigarette (something quite dodgy in 1931!). It is the exact reproduction of a famous painting by Otto Dix.

An outrageously grinning clown (Joel Grey) introduces every cabaret number. The girls appear in all possible contorted postures keeping deadpan faces. The Kit Kat club reminds of a roman arena, where the public is out for anything insane (even women fights in the mud...). To give an idea of what sort of den the club is, Michael York finds himself at one point standing next to a transvestite in a men's urinal...The cabaret performances get all the more provocative as the plot gets tense. The club is an essentially immoral place where anything is for sale, and it adapts shamelessly to the radical political changes coming up.

Liza Minelli's character is totally at home in such surroundings. Her persona is perfectly sketched in her song "Bye Bye Mein Herr". She is the incarnation of the vamp, both heartless and ingenuous, the sort of lethal woman who drives men crazy and then gives them up like toys. Indeed, a very typical stereotype of the interwar period, think of Marlene Dietrich in "the Blue Angel"...Minelli's performance onstage with garter belts and a bowler hat still looks elegantly naughty today.

Though, the real nature of her character is well studied as soon as she gets offstage. While Minelli can't help being extravagant all the time, she turns out to be a fragile woman neglected by her father, and in demand of constant and renewed attention. As predicted in her song, she proves basically unable to engage in any serious relationship, despite her involvement with Michael York ( "And though I used to care, I need the open air, you'd every cause to doubt me Mein Herr").

The script was based a story by British writer Christopher Isherwood, called "A Goodbye to Berlin", based on his own personal memories. He is allegedly the character played by Michael York. A serious upper class young man, he meets Liza Minelli out of blind chance, while looking for an apartment to share. She introduces him to all sorts of people, from riff-raff to aristocracy, including a gigolo, a Jewish heiress, and an ambiguous baron who dismisses them both after having "played" with the two of them.

Michael York's sober performance looks a bit pale as opposed to histrionic Liza Minelli, but of course, that was necessary in order to stress the essential difference between those two strangers. The movie ends as they part on a railway platform, but one can guess their experience together will have changed them both, as as far as he is concerned, was a definite coming of age.

One of the scenes, in the middle of the movie, is quite disturbing. At a countryside inn, a young S.A man sings a song called "Tomorrow belongs to me", which starts out nostalgic but gradually turns into an infectious Nazi march as the whole crowd joins him. This unexpected number seems to have embarrassed many viewers. If Nazism had presented itself as pure evil, would it have met any success? This daring scene makes evident that it was for many Germans of the time the symbol of positive values : beauty, tradition, order, pride, future. If you didn't know how things turned out, would you not have been tempted to sing along this powerful hymn to the fatherland as you watch this? Good question to ask oneself even, or especially, nowadays...


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