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on 15 December 2014
Have not watched it yet as it is a Christmas present but just pleased I could get my hands on one.
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on 3 December 2015
Good but, I as discovered to my disappointment, there ain't no subtitles, not even in English.
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on 21 February 2017
Another must-have for any Musicals DVD collection - and possibly Ms Minelli's finest work...?
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on 17 February 2017
Highly recommended, a bit 'darker' than I thought it would be but a thoroughly enjoyable film
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on 6 August 2007
Not a film to be taken lightly, the brilliant performances of the stars that grace this production cannot hide the dark and terrible undertones that leach their way to the surface. Sally Boles (Liza Minnelli) is an American dance hall girl (with a high opinion of herself) in pre-war Berlin. A young and naive (and bi-sexual) English language teacher (Michael York) moves into the same boarding house and she helps him to integrate into the decadence that is Berlin. As the story unfolds they discover that they are both sleeping with the same man, Baron von Heine (Helmut Griem) Max is a playboy and buys their affections with champagne and furs. During the frivolity the Nazis slowly rise to the fore.
A very very different musical that is most certainly a timeless classic.
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on 4 February 2016
Could have been so much better if it had been properly restored, instead of just repackaged
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#1 HALL OF FAMEon 17 February 2003
The musical would fall very much out of vogue after its heydey in the era of studio Hollywood- the existence of banal pseudo-musicals such as Chicago, Love's Labour Lost & Moulin Rouge are the after-thought of a genre that has pretty much ceased to exist (see also the Western). There were attempts at musicals- One from the Heart, Streets of Fire, Stayin' Alive- but the dominant mode followed the 'realism' of Saturday Night Fever- thus we got things like Flashdance, Breakdance, Footloose, Beat Street...Of course there have been a few successes- the musical episode of Buffy the Vampire Slayer, The Rocky Horror Picture Show, Hedwig & the Angry Itch & of course Grease. But for the most part, the musical is a living dead genre. And Cabaret captures a sense of that decay, in the manner it frames the musical elements as performance within the "realistic" depiction of 30s Berlin.
This works well, the songs represent the decadent Weimar-era & the notion is presented that people like Sally are so lost in halycon-hedonism (not unlike current club culture or consumer society) that they do not notice this decay. Brian (Michael York) does notice this- & gets beaten up by Nazi's for his troubles. The aryan-puritan ethic of the National-Socialists would attack the very world of jazz & decadence & bisexuality etc- this world would vanish, as directors of films such as The Blue Angel & Metropolis would. This Berlin is about to be altered forever...
What I like about this film is the manner in which it brings in the Nazi-theme, very subtlely in the background- until we see a communist's body lie in the road, until Natasha (Marisa Berenson) begins to experience problems by being Jewish & until the horrifying 'Tomorrow Belongs to Me'-sequence- which has a crowd of enchanted Germans sing along with a Nazi Youth archetype of aryan perfection (even more horriying is the appearance of the MC- Joel Gray- at the end of this scene: a character we only see performing in the Kit Kat Club: his face here reminded me of the 'Mystery Man'in David Lynch's Lost Highway- a demon in the new agrarian National-Socialist Germany, where he once represented decadent Weimar Berlin, he now is a wraith of some kind- representing the evil beneath the veneer of the Nazi's). And it's no mean feat to represent National-Socialism on screen- the majority of war films are extremely simplistic in their approach, or worse- they appear to celebrate/fetishise the Swastika: see The Night Porter, The Damned, Salon Kitty, Romper Stomper, The Believer. This film has more in common with The Serpent's Egg & Mephisto in terms of its depiction of Nazi-ism.
And the songs are great- as are the performances (Liza Minnelli only of note in New York New York, apart from this); Cabaret is a very strange film- either a musical masqeraeding as a social history or social history disguised as a musical. It's Bob Fosse's finest moment- though I think All That Jazz & Lenny are almost as good. Unlike early, more conventional musicals- such as Top Hat, An American in Paris & Singin' in the Rain- it is not entertaining escapism. And unlike that sub-All About Eve/Sunset Boulevard drivel Chicago (2003) & MTV-camp nonsense Moulin Rouge (2001), it is about SOMETHING.
Cabaret is one of the major films of the 1970s, probably not the best introduction to the genre of the musical- more the end of the line: for Berlin, for the musical. Fiddle-de-de-de...
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on 29 December 2014
It is what it is, got this to replace the video version (finally decided to ditch it)
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on 8 January 2016
This was a present from my husband at Christmas and is one of my favourite films.
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on 18 October 2016
Excellent product and service. Bought as a present, so can't comment on content.
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