Welcome to Cabaret next time

Florencio 2021-12-21 08:01:16

As "The Cabaret", which defeated Coppola's "The Godfather" and won the Oscar for best director, it is far from being evaluated and discussed as "The Godfather". Naturally, the reason is that the meaning of song and dance movies is declining. "The Godfather" is a classic, but when we face "The Cabaret" again, we have to admit that it is well-deserved. The film is adapted from the Broadway musical of the same name. It tells the emotional story of an American girl performing singing and dancing in a cabaret in Berlin under the control of the rise of the Nazis in the 1930s and a British male teacher living in an apartment. The film follows the narrative strategy of the romance of the early stage musicals, but it surpasses the genre of musicals in the genre. Instead of escaping from the world in musicals, the contradictions are concentrated on the themes of love and personal struggle. The director injected more social and cultural care, strengthened the violent, dark environment, and the people's ignorance and easy manipulation and incitement under the Berlin background of the Nazi era, and linked to the subject's love line for more in-depth and sensitive discussions. Although the whole film still ends with a song and dance, it is not as false and complete as in the past with this type of song and dance to solve all contradictions. Director Bob Foss, as the first-rate director of Broadway singing and dancing, his creation of "Chicago" has also been put on the screen in the new century, and there are also elements of tribute to "King Hall". For example, the karaoke hall in the film, as a reflection of the character's heart, is basically separated from the real scene, which is continued in "Chicago". Throughout the film, the three religions and nine streams merged into the Berlin Doomsday Ukiyo-e in the 1930s. The plot line is incomplete. The experience of the British Master of Philosophy Brian in Berlin is just an abrupt and chaotic life in his life. In response to the increasingly chaotic social conditions in Germany before the Nazis came to power, the karaoke hall became a micro-political metaphor. In editing, Bob Foss used a large number of cross-montages to promote the smooth progress of the two-line narrative. From Bryan’s arrival and the opening welcome song of the karaoke hall, they were connected together with a cross-montage; stage entertainment and real atrocities in the background The fast hand-cutting. The people in the karaoke hall came and went, living a life of drunken gold and gold in the weird lights and smoke; outside the karaoke hall, the SS held high flags and chanted slogans, and Nazism quietly rose. The dancers dressed in bold, heavy make-ups are in sharp contrast with the changing landscape of the outside world. The frequent use of montage techniques also makes "The Cabaret" more fearsome than purely depicting Nazi dramas. In the way of narration, Bob Foss added the absurdity of the plot with the program of the stage life shuttle. The cabaret dancer played by Joel Gray, with his mouth turned slightly, his eyes widened, and the playful witty words never came out. The performance of the karaoke hall highlights the declaration of the times to be happy. The immigrant, homosexual, Jewish and other elements ambushed by the director are all major life issues that pass by or participate in the characters lightly, but are not superficial. They are connected with the exaggerated and sluggish appearance and become the first point of view in the content. Everything extends from the karaoke hall, breaking ideological barriers from the source. This narrative method is not only a contrast between onstage and offstage, but also a linkage between inside and outside the screen. Using the same technique and line performance to start and end, set off the curtain of the two worlds of film and life. There is clarity behind the psychedelic, the stage is real because of absurdity and farce, but life is becoming more absurd and surreal. Maybe the people in the game haven't noticed it yet, but we already know the mirror reflection of the Nazi ghost in the ending karaoke hall. The karaoke hall will no longer exist. The next stage is the sad and cruel "A Beautiful Life" and The Delek List" again.

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Extended Reading
  • Ebba 2022-03-28 09:01:04

    Tag: Berlin in 1931. A tolerant attitude towards homosexuality. These are the focus of future research.

  • Griffin 2022-03-26 09:01:07

    All the singing and dancing scenes in "Karaoke" take place in the real stage area, unlike traditional musicals, which integrate singing and dancing into virtual situations, and Bob Fosse did not let the characters sing dialogue like Jacques Demmy- - Here, singing and dancing are singing and dancing, and life is life. All kinds of people in the karaoke hall waited and went back and forth, living an extremely glitzy and lavish life in the bizarre lights and smoke; outside the karaoke hall SS troops waved flags and shouted slogans, and Nazism quietly emerged. The director glued two seemingly unrelated environments together with cross-cutting. The dancers in bold costumes and heavy makeup formed a sharp contrast with the outside world. The frequent use of montage techniques also made "Karaoke" more than description Nazi dramas are more powerful. As one of Broadway's leading cabaret directors, it's no surprise that Fox excels in the film's chorus and dance sequences, but the non-chorus and dance sequences are just as finely crafted as the shots, as smooth as a seasoned dancer. It was a pity that Foss was far from being as famous as his contemporaries.

Cabaret quotes

  • Brian Roberts: How's the, uh, gigolo campaign going?

    Fritz Wendel: Terrible. This week, already I'm giving up three dinner invitations to spend thirty-two marks on her.

    Brian Roberts: That's quite a sacrifice.

    Fritz Wendel: And here's the craziness: I like it. God damn it!

    Brian Roberts: What?

    Fritz Wendel: I think I'm falling in love with her.

    Brian Roberts: Oh, I'm so sorry.

    Fritz Wendel: So am I.

  • [describing a telegram from her father]

    Sally: Ten words exactly. After ten it's extra. You see, Daddy thinks of these things. If I had leprosy, there'd be a cable: "Gee, kid, tough. Sincerely hope nose doesn't fall off. Love."