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Cabaret
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Cabaret (1972) More at IMDbPro »

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

Overview

User Rating:
7.9/10   31,958 votes »
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Director:
Writers:
Joe Masteroff (based on the musical play "Cabaret" book by)
John Van Druten (based on the play by)
(more)
Contact:
View company contact information for Cabaret on IMDbPro.
Release Date:
13 February 1972 (USA) See more »
Genre:
Tagline:
The Award-Winning Smash Hit Musical [UK Video] See more »
Plot:
A female girlie club entertainer in Weimar Republic era Berlin romances two men while the Nazi Party rises to power around them. Full summary » | Full synopsis »
Plot Keywords:
Awards:
Won 8 Oscars. Another 26 wins & 15 nominations See more »
User Reviews:
Divine decadence See more (171 total) »

Cast

  (in credits order) (verified as complete)

Liza Minnelli ... Sally Bowles

Michael York ... Brian Roberts
Helmut Griem ... Maximilian von Heune

Joel Grey ... Master of Ceremonies
Fritz Wepper ... Fritz Wendel

Marisa Berenson ... Natalia Landauer
Elisabeth Neumann-Viertel ... Fräulein Schneider
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
Inge Jaeger ... Kit-Kat Dancer
Angelika Koch ... Kit-Kat Dancer
Helen Velkovorska ... Kit-Kat Dancer
Gitta Schmidt ... Kit-Kat Dancer
Louise Quick ... Kit-Kat Dancer
rest of cast listed alphabetically:
Oliver Collignon ... Hitler youth singer (uncredited)
Pierre Franckh ... Nazi with Collecting Box (uncredited)

Directed by
Bob Fosse 
 
Writing credits
Joe Masteroff (based on the musical play "Cabaret" book by)

John Van Druten (based on the play by)

Christopher Isherwood (stories)

Jay Presson Allen (screenplay) (as Jay Allen)

Produced by
Cy Feuer .... producer
Harold Nebenzal .... associate producer
Martin Baum .... executive producer (uncredited)
 
Original Music by
John Kander 
Ralph Burns (adaptation score) (uncredited)
 
Cinematography by
Geoffrey Unsworth (photographed by)
 
Film Editing by
David Bretherton 
 
Casting by
Renate Neuchl 
 
Production Design by
Rolf Zehetbauer 
 
Art Direction by
Hans Jürgen Kiebach  (as Jurgen Kiebach)
 
Costume Design by
Charlotte Flemming 
 
Makeup Department
Susi Krause .... makeup and hairstyling
Gus Le Pre .... hair styles: Miss Minnelli's
Raimund Stangl .... makeup and hairstyling
 
Production Management
Pia Arnold .... production manager
Wolfram Kohtz .... unit manager
 
Second Unit Director or Assistant Director
Wolfgang Glattes .... assistant director
Douglas Green .... assistant director
Stefan Zürcher .... second assistant director (uncredited)
 
Art Department
Richard Eglseder .... property master
Herbert Strabel .... set dresser (as Herbert Strabl)
 
Sound Department
David Hildyard .... sound
Robert Knudson .... dubbing
Arthur Piantadosi .... dubbing
James M. Falkinburg .... supervising sound editor (uncredited)
Doug Grindstaff .... sound editor (uncredited)
 
Camera and Electrical Department
Herbert Fischer .... gaffer
Lars Looschen .... stills
Peter MacDonald .... camera operator
John Campbell .... assistant camera (uncredited)
 
Costume and Wardrobe Department
Ille Sievers .... wardrobe
Ute Meyer-Martin .... costume assistant (uncredited)
 
Editorial Department
David Ramirez .... assistant editor
 
Music Department
Ralph Burns .... conductor
Ralph Burns .... music arranger
Ralph Burns .... music supervisor
Fred Ebb .... composer: additional songs
Fred Ebb .... lyrics by
Illo Endrulat .... music editor
Bob Fosse .... musical numbers staged by
John Kander .... composer: additional songs
Raoul Kraushaar .... music coordinator
Karola Storr .... music editor
Robert Tracy .... music editor (as Robert N. Tracy)
Fred Werner .... choreographic music associate
 
Other crew
Jutta Beil .... dance co-ordinator
Bob Fosse .... dances staged by
Vic Heutschy .... unit publicist
Jane Meagher .... auditor
Harold Prince .... produced on the New York stage by
Osman Ragheb .... dialogue coach
John Sharpe .... choreographic assistant
Trudy von Trotha .... script supervisor (as Trudi Von Trotha)
Hugh Wheeler .... research consultant
Michael Alpert .... publicist (uncredited)
Stephanie Daniel .... double: Liza Minnelli (uncredited)
Virginia Lord .... publicist (uncredited)
Myrna Post .... publicist (uncredited)
 
Crew verified as complete


Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
Runtime:
124 min
Country:
Language:
Color:
Color (Technicolor)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
3 Channel Stereo (5.0 Surround Sound) (L-R)
Certification:
Argentina:13 | Australia:M | Canada:PG (Ontario) | Canada:PG (video rating) | Finland:K-16 | Iceland:L | Peru:14 | Portugal:M/16 | Portugal:M/12 (DVD rating) | Singapore:PG | Sweden:15 | UK:X (original rating) | UK:15 (tv rating) | UK:15 (re-rating) (2002) | UK:15 (video rating) (1986) (1992) (1996) (2004) | USA:PG (Approved No. 23254) | West Germany:16

Did You Know?

Trivia:
The character of Sally Bowles was based on Jean Ross, an aspiring actress, singer and writer, who lived a colorful life. She was reported to have been unhappy with Isherwood's portrayal of her as apolitical, and even slightly antisemitic - she was a member of the Communist Party (and may, in fact, have been in Germany as an agent of the Comintern). She was also married for a time to Claud Cockburn, the father of journalist Alexander Cockburn, who described her as "a gentle, cultivated and very beautiful woman, not a bit like the vulgar vamp displayed by Lisa Minnelli."See more »
Goofs:
Anachronisms: 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 »
Quotes:
Sally:So, you took on the whole Nazi party?
[Brian holds up three fingers]
See more »
Movie Connections:
Soundtrack:
WillkommenSee more »

FAQ

Where was the movie shot?
Chapter Headings, an official version:
Chapter Headings, a semi-official version:
See more »
124 out of 149 people found the following review useful.
Divine decadence, 15 February 2006
Author: francois chevallier (francheval@noos.fr) from Paris, France

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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