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Music, Romance, Drama 124 min PG
Rotten Tomatoes92%Metacritic80IMDb
Life is a Cabaret.
Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles and an impish emcee sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force.
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Written by TMDB members; each links to the original. Not part of Taste Buds's numbers.
**With qualities and many problems, it is a film that proves that the Oscars do not make films immortal or more significant.** It's hard for me to believe how this film dominated the 1972 Oscar ceremony. That night, it proved to be a devourer of statuettes in a head-to-head duel with “Godfather”, Coppola's greatest work, winning eight awards: Best Original Soundtrack, Best Art Direction, Best Sound, Best Editing, Best Cinematography, Best Director, Best Actress (for Liza Minelli) and Best Supporting Actor. I know that a lot of people like to detract from the Oscars and I agree with some of their arguments, but it will be an award to be taken into account as long as it is the most prestigious cinematographic award in the world. And let's face it: eight Oscars is a lot. After seeing the film, however, I started to think that, despite his qualities, he may have been too lucky. The film gives Liza Minelli everything she needs to shine as a top star, even though until then she could barely call herself an actress: apart from a few minor roles, she had only made two films and none of them left any relevant memory. Without much effort and with everything helping, she shows us great commit
Read the whole review on TMDBSet against a backdrop of rising Nazi power in Berlin in the early 1930s, this is a wonderfully colourful and sexually provocative piece of musical cinema that centres around the cabaret in the "Kit Kat Club". Introduced by the outstandingly ambiguous Joel Grey as the Master of Ceremonies, we are introduced to the star attraction - "Miss Sally Bowles" (Liza Minnelli) and for the next two hours we see aspects of their stage entertainment interspersed with her life, and that of her new-found friend "Brian" (Michael York) as they fall in and out of love, of bed - and of bed with their friend "Max" (Helmut Griem) too! Just to defuse some of that intensity, there is a parallel storyline featuring the lovestruck "Fritz" (Fritz Wepper) who is the initially gold-digging, but ultimately sincere suitor for the hand of the Jewish heiress "Natalia" (Marisa Berenson). The threads of the story are perfectly knitted together by Bob Fosse, who demonstrates the odious political and anti-semitic politics whilst also presenting us with some wonderfully entertaining dance numbers staged within the confines of a real theatre. This gives us an added intimacy and richness to the performances. We see thei
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