Актеры: Liza Minnelli (as Sally Bowles), Michael York (as Brian Roberts), Helmut Griem (as Maximilian von Heune), Joel Grey (as Master of Ceremonies), Fritz Wepper (as Fritz Wendel), Marisa Berenson (as Natalia Landauer), Elisabeth Neumann-Viertel (as Fraulein Schneider), Helen Vita (as Fraulein Kost), Sigrid von Richthofen (as Fraulein Mayr (as Sigrid Von Richthofen)), Gerd Vespermann (as Bobby), Ralf Wolter (as Herr Ludwig), Georg Hartmann (I) (as Willi), Ricky Renйe (as Elke (as Ricky Renee)), Estrongo Nachama (as Cantor), Kathryn Doby (as Kit-Kat Dancer)
Описание: Один из самых гениальных мюзиклов. Берлин начала тридцатых годов. Материал о приходе фашистов к власти дан ненавязчиво, но убедительно. В центре фильма сложные взаимоотношения между американской певицей кабаре и молодым студентом, подрабатывющим уроками, которые он дает богатой молодой еврейке. Потрясающие музыкальные номера, ставшие классикой эстрадной музыки. Фильм, поставленный по мотивам одноименного бродвейского мюзикла, основанного на пьесе Джона Ван Друтена и сборнику рассказов Кристофера Ишервуда "Прощай, Берлин", заслуженно получил восемь "Оскаров". Танцы и музыкальные номера поставлены Бобом Фоссом. Слова песен: Фред Эбб. Allied Artists Pictures Corporation and ABC Pictures Corp. (Иванов М.)
Рецензии: Spoilers herein.
Film has the widest range of abstraction of any art. You can have `real' things, you can have `imaginary' things, you can have real people doing imaginary things. You can, in fact have dozens of types of `folds' of interesting relationships between elements IN the performance and the act of giving the performance. Musicals are natural for this kind of folding, especially the `Moulin Rouge' kind of musical. That was an extreme exercise in overlaying one abstraction on another and then flattening them: book, absinthe vision, outer play, inner play. The anachronisms of the songs stretched the levels in other directions.
Here we have the absolute simplest musical folding: there is never an overlay between the world of the story and the world of the performance within. The two are kept straight for the most part. All the songs are on a stage within the story. So we have two amusements here: the first is a rather simple story about an aimless life as it wanders through sexual exploitations and confusions in a hostile world. The second is the stage act itself, which is presented to us more or less as it was/is presented to the German audience of the 30s.
The brilliance of the film is supposed to be the superposition of these. Some of this works, for instance Minelli's `acting' is a collection of stage movements and we never really register whether we are watching a stylized reality or a `real' reality in which a person has chosen to be stylized (a la Holly Golightly) in order to survive.
But other elements of this are shockingly ineffective. The basic appeal comes from our enjoyment of watching the show, but this is at the same time we are repeatedly and bluntly shown that watchers of this sort of thing are less human, less real themselves, because of it.
Another dimension: Nazism spread largely because of its theatrical trappings, a path long blazed by the decadent tradition we see here -- the Berlin stage made Hitler possible, just as it previously (and still does in the UK) `performed' the country in terms of its elite. We sense this, we can't avoid it since the point of the enterprise is to raise the issue the other way: politics into the play. But it is glossed over in a way that makes willing conspirators of us.
How far we have come, from this unintegrated sorting out of the mechanics of performance to what we have now with the recent `Rouge' and `Chicago.'
Ted's Evaluation -- 2 of 4: Has some interesting elements. <br