Cabaret (Allied Artists Pictures, 1972)

A dazzling and disturbing musical masterpiece.

Liza Minelli on stage in Cabaret

Cabaret (Allied Artists Pictures, 1972), directed by Bob Fosse, is a cinematic tour de force that seamlessly blends musical spectacle with a stark and unflinching portrayal of the rise of Nazism in Weimar-era Germany. Based on the 1966 Broadway musical of the same name, and before that, the 1951 play I Am a Camera by John Van Druten (itself based on Christopher Isherwood’s novel Goodbye to Berlin), this film is a dazzling, disturbing, and unforgettable experience. It’s a musical unlike any other, using the vibrant energy of the Kit Kat Klub to underscore the insidious creep of fascism. Cabaret is a film that demands to be seen, felt, and considered.

The story is set in 1931 Berlin, where young American academic, Brian Roberts (Michael York), arrives to teach English. He’s quickly drawn into the bohemian nightlife of the city, particularly the Kit Kat Klub, a seedy cabaret where the Emcee (Joel Grey) presides over a world of decadent indulgence. Brian meets the club’s star performer, Sally Bowles (Liza Minnelli), a vivacious and self-destructive British singer, and they embark on a tumultuous relationship that mirrors the chaotic state of German society. As the Nazi party gains power, the carefree atmosphere of the cabaret starts to be replaced by the ominous signs of political change, which Brian is slow to acknowledge.

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What makes Cabaret so effective is its brilliant use of the musical genre to comment on the political and social climate of the time. The musical numbers, rather than being integrated into the narrative in the traditional way, function as both entertainment and as a window into the moral decay of society. The performances in the Kit Kat Klub are full of energy, but there’s an undercurrent of desperation and cynicism to them. The film juxtaposes the glamorous world of the cabaret with the grim reality of the outside world, creating a stark and often unsettling contrast.

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Bob Fosse’s direction is nothing short of masterful. He uses innovative camera work, stylized choreography, and a brilliant sense of mise-en-scène to create a visual feast that is both mesmerizing and disturbing. The film’s choreography is full of sexual tension and a hint of menace, mirroring the unease of the world they inhabit. The production design, from the glitz of the cabaret to the squalor of the back streets of Berlin, is meticulously crafted and richly detailed.

Liza Minnelli delivers an iconic performance as Sally Bowles. She embodies both the character’s vulnerability and her fierce independence, with a performance that is both heartbreaking and electric. Her renditions of “Mein Herr,” “Maybe This Time,” and, most famously, the titular “Cabaret” are tour de forces of stage presence and emotional depth. Joel Grey is also extraordinary as the Emcee, a sinister and enigmatic figure who serves as a kind of master of ceremonies for the unfolding drama. Michael York is excellent as Brian, providing a more grounded and relatable point of view for the audience.

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The film’s themes of political apathy, the dangers of complacency, and the insidious nature of fascism remain incredibly relevant today. Cabaret doesn’t offer any easy answers; instead, it forces viewers to confront the uncomfortable truths about human nature and the dark side of society. While set in a specific historical moment, its exploration of these themes feels timeless. The film has an emotional power that still resonates with a modern audience.

Cabaret is a cinematic triumph, a musical masterpiece that is both entertaining and deeply disturbing. Bob Fosse’s innovative direction, Liza Minnelli’s electrifying performance, and the film’s exploration of important social and political themes make it a film that is as relevant and powerful today as it was on its release. It remains one of the most important and influential musicals in cinema history.

Head of film reviews at The Viewers Guide with an erudite, insightful, slightly sardonic, deep appreciation for classic cinema. Has a habit of quoting obscure lines from old films in everyday conversation. He keeps a meticulously organized film logbook. He's a bit of a tea snob.