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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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3,556 ( 99)
Won 8 Oscars. Another 27 wins & 15 nominations. See more awards »

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Cast

Cast overview, first billed only:
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The Master Of Ceremonies / Master of Ceremonies
Fritz Wepper ...
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Elisabeth Neumann-Viertel ...
Helen Vita ...
Fraulein Kost
Sigrid von Richthofen ...
Fraulein 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

Cambridge University student Brian Roberts arrives in Berlin in 1931 to complete his German studies. Without much money, he plans on making a living teaching English while living in an inexpensive rooming house, where he befriends another of the tenants, American Sally Bowles. She is outwardly a flamboyant, perpetually happy person who works as a singer at the decadent Kit Kat Klub, a cabaret styled venue. Sally's outward façade is matched by that of the Klub, overseen by the omnipresent Master of Ceremonies. Sally draws Brian into her world, and initially wants him to be one of her many lovers, until she learns that he is a homosexual, albeit a celibate one. Among their other friends are his students, the poor Fritz Wendel, who wants to be a gigolo to live a comfortable life, and the straight-laced and beautiful Natalia Landauer, a Jewish heiress. Fritz initially sees Natalia as his money ticket, but eventually falls for her. However Natalia is suspect of his motives and cannot ... Written by Huggo

Plot Summary | Plot Synopsis

Taglines:

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

Genres:

Drama | Musical

Certificate:

PG | See all certifications »

Parents Guide:

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Details

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Release Date:

13 February 1972 (USA)  »

Also Known As:

Kabare  »

Filming Locations:

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Box Office

Budget:

$6,000,000 (estimated)

Gross:

$42,765,000 (USA)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

There is much speculation about the identity of the singer of "Tomorrow Belongs to Me". Apparently, Bob Fosse's biography states that the song was recorded for the film by Broadway actor/singer called Mark Lambert. This actor is said to have refused to dye his hair blond; so a German extra (the "Nazi youth") stood in for him on camera. See more »

Goofs

Brian is seen pushing a bicycle while walking with Sally. The front light on the bicycle points downwards. Later, Brian and Sally join two friends for a cycle ride. Brian rides the same bicycle with the downward pointing light. In the same scene, when the four are pushing their bicycles and eating ice creams, Brian is pushing a bicycle that doesn't have the downward-pointing light. See more »

Quotes

Sally Bowles: Divine decadence darling!
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Crazy Credits

Opening credits prologue: Berlin 1931 See more »

Connections

Featured in Oscar's Greatest Moments (1992) See more »

Soundtracks

Sitting Pretty
Written by John Kander and Fred Ebb
Used instrumentally
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Frequently Asked Questions

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User Reviews

 
That's what I call a masterpiece
18 April 2002 | by (Moscow, Russia) – See all my reviews

It's a strongest film I know. Every time I watch it, it bewilders me so I can't turn my eyes away from the screen, even though I remember all what happens by heart. It fills me with a strange mixed feeling of interest-sympathy-admiration-disgust-and-horror. One of the reviewers here called this film depressing, and I inclined to agree. Any picture of Berlin in 1931 must be depressing and frightening. But, on the other hand, there is an atmosphere of desperate reckless joy in the movie. When the entire world goes mad and speeds to a catastrophe, life is a cabaret! Do what you can, come hear the music play, don't permit some prophet of doom wipe every smile away, and end as the happiest corpse! It's one idea. There is also another, more humanistic: live and let live. Brian fails to understand Sally, so they fall apart. Fritz for the sake of his love faces the danger of admitting that he is Jew in Germany. There is no hope for him and Natalia in this country in this time. But he couldn't do otherwise. There are plenty of other ideas too: about money, politics, corruption, perverseness, decadence, stupidity of middle classes, talent, success, etc. The story is very simple and incredibly complicated in the same time. No use retelling it. It must be seen. It's life as it was in 1931 and in many ways as it is nowadays. I suppose that Cabaret would be a great film even without any musical numbers, but with them it is a masterpiece. They say that history repeats itself, for the first time as a tragedy, for the second time as a farce. Well, I would say that in Cabaret every event repeats itself for the first time as a human drama in life and for the second time as a farce on the stage, but it would not be exactly true. Life and farce are shown synchronically or farce even go in advance. But every staged number in divinely decadency Kit Kat Klub ruthlessly shows the naked truth of life. (Only Mein Herr and Maybe This Time have more to do with the character of Sally Bowles.) And of course, Tomorrow Belongs To Me must be mentioned separately. The way of German people towards fascism is presented in one startling scene. And in finale too. That distorted reflection of the audience full of Nazi, accompanied by a tense silence after Master's of Ceremonies ‘Aufwiedershen' is horrible. The movie due half of its unforgettable effect to the masterful camera shots. Actors' works are absolutely fantastical. Surely, Master Of Ceremonies is Joel Grey star role. He is amazing as that demonic shameless figure that seems to know everything, understand everything and deride everything. Liza Minnelli shines in every scene, acting, speaking, singing and dancing. I know few performances equally true, strong, brilliant and stylish as hers as Sally Bowles. Michael York is excellent as well, though he is often underestimated. It's only his character who is reserved, intelligent and avoids show-off. And he is perfectly British. I really admire York's acting in the movie. There are also beautiful Marisa Berenson as noble Natalia, Fritz Wepper very believable as tormented Fritz, repulsively attractive Helmut Griem as the rich scoundrel Maximilian and picturesque supporting cast. John's Kander's music is wonderful and haunting.

Shortly, Cabaret is a work of a genius, or it would be better to say of geniuses: Bob Fosse and the crew and the cast. And it's flawless.


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