This movie is not so much about the nazi regime as the plot or the back of a DVD suggests but a full two hour visual carneval. Wonderful decadent Berlin of the late 1920's-early 1930's shows it's face in Liza Minelli's character who flees around conciously naively searching for love and fun. Love how fragile and at the same time concious Minelli's character is about her life situation and nevertheless declares that life's a cabaret. Very memorable lyrics about the happiest corpse she's ever seen. The climate seems to indicate that it's better to take everything life offers while it's still possible (movie ends before WW2 starts).
Michael York seems somewhat reserved in his character but I guess that is the main point of his character. The most memorable parts are certainly the cabaret numbers, cinematography is excellent and totally brings out the decadent and absurd climate of the time. Let's not forget Joel Grey (movie buffs, he's Oldrich Novy in Trier's Dancer In The Dark, woo-hoo!) as the master of ceremony who really brings another level to the story with his outrageous performances. Still can't help but to wonder if this movie lacks the cartharsis, though this is not a pure tragedy. Though the musical side of this movie is so so good (if you don't keep singin Money, Money all day after this, you're a fool) it's propably better not to question it no more, just enjoy what it offers.
Oh, and Minelli's wardrobe in this movie is to die for, must have affected on the indie kids and others alike!
wow, that poster's *wicked*! about Liza's style (and just general attitude here), i suppose many of the "Lolita" types look to it for inspiration :).
ReplyDeletehaha, I bet they do! she was so chic.. yeah, who wouldn't want joel grey rolling with the babes on their wall? :D but I have to say, you've chose a very good screep cap, i really wondered while watching the movie, when would that image appear. so poignant image! :)
ReplyDeletethanks, i was really happy to find it, that was my fav scene and i looked for it especially :)!
ReplyDeleteand in addition to the musical numbers already mentioned, i really love the energy of Goodbye, Mein Herr (title?).
ReplyDeleteand "Tomorrow Belongs to Me" in the park just gives me the chills. i've just now realized the brilliant contrast between it and the cabaret numbers, which, marked by the perverse, world-weary and morbid as they may be, are really ultimately benign and inconsequential, whereas there you have a thoroughly pure, luminous, optimistic and majestic foreboding of absolute evil. (Even the surroundings in which they're performed contribute to the contrast: dingy indoors vs "the great outdoors".)
I agree. I understand that they cut off that singing part from the original copy because it was seen showing nazism too positively (could the sensors see things more twistedly, though they very often seem to do)
ReplyDeleteI think it's wonderfully shown how nazism was so overpowering and by capturing large audiences and masses, made it all seem like a naturally patriotic move towards united Germany. The dingy indoor cabaret, as you said it, stands no chance in comparison but through it's natural power and enthusiasm keeps it's flag up 'till the bitter end. Love how the last picture shown through the glass wall gives the impression that the audience is almost full of nazis. Though it prob shouldn't be seen so, my first thought was a of a sinking ship.
Love these movies which gives you more and more even awhile after seeing it!