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Title: Cabaret (1972)
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| Cast overview, first billed only: | |||
| 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 | ... | Fraulein Schneider | |
| Helen Vita | ... | Fraulein Kost | |
 |
Sigrid von Richthofen | ... | Fraulein Mayr (as Sigrid Von Richthofen) |
|
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Gerd Vespermann | ... | Bobby |
|
|
Ralf Wolter | ... | Herr Ludwig |
|
|
Georg Hartmann | ... | Willi |
|
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Ricky Renée | ... | Elke (as Ricky Renee) |
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Estrongo Nachama | ... | Cantor |
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Kathryn Doby | ... | Kit-Kat Dancer |
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
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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 by Oscar winner Bob Fosse, who also choreographed the musical numbers, and photographed by Geoffrey Unsworth, another Oscar recipient. ***1/2 from ****