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Feuer appealed to the studio heads, citing Fosse's talent for staging and shooting musical numbers, adding that if inordinate attention was given to filming the book scenes at the expense of the musical numbers, the whole film could fail.
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Fosse ultimately was hired. Over the next months, Fosse met with previously hired writer Jay Allen to discuss the screenplay. Dissatisfied with Allen's script, he hired Hugh Wheeler to rewrite and revise her work. Wheeler is referred to as a "research consultant", while Allen retains screenwriting credit. Fosse and Feuer traveled to West Germany, where producers chose to shoot the film, in order to finish assembling the film crew.
During this time, Fosse highly recommended Robert L.
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Surtees for cinematographer, but Feuer and the top executives saw Surtees's work on Sweet Charity as one of the film's many artistic problems. Producers eventually chose British cinematographer Geoffrey Unsworth. Charlotte Flemming designed costumes. Fosse was given the option of using Grey as Master of Ceremonies or walking away from the production. Fosse hired Michael York as Sally Bowles's bisexual love interest. Several smaller roles, as well as the remaining four dancers in the film, eventually were cast in Germany.
Rehearsals and filming took place entirely in West Germany. Location shooting took place in and around Munich and West Berlin, and in Schleswig-Holstein and Saxony [ citation needed ]. Editing was done in Los Angeles before the eventual theatrical release in February Although the songs throughout the film allude to and advance the narrative, every song except "Tomorrow Belongs to Me" is executed in the context of a Kit Kat Klub performance.
The voice heard on the radio reading the news throughout the film in German was that of associate producer Harold Nebenzal , whose father Seymour Nebenzahl made such notable Weimar films as M , Testament of Dr. Mabuse , and Threepenny Opera The film is significantly different from the Broadway musical. In the film version, she is American. The character of Cliff Bradshaw was renamed Brian Roberts and made British as was Isherwood, upon whom the character was based rather than American as in the stage version.
The characters and plot lines involving Fritz, Natalia and Max were pulled from I Am a Camera and did not appear in the stage version of Cabaret or in "Goodbye to Berlin" , and a minor character named Max in the stage version, the owner of the Kit Kat Klub, bears no relation to the character in the film.
In the film, Sally is a very good singer, whereas the stage version often portrays her as being untalented.
Cabaret Songs Reviews
Fosse cut several of the songs, leaving only those that are sung within the confines of the Kit Kat Klub and "Tomorrow Belongs to Me" — sung in a beer garden in the stage musical, it is sung first by the cabaret boys and then at a private party. The most significant change from the original stage version of Cabaret involves the cutting of the two main characters, Fraulein Schneider, who runs a boarding house, who is reduced to a single line in the film, and her love interest, Herr Schultz, a German grocer, whose character doesn't exist at all.
The plot line of their doomed romance, and the consequences of a German falling in love with a Jew during the rise of Nazi anti-semitism was cut. Also cut were the joyous "So What? The song " Maybe This Time ", which Sally performs at the cabaret, was not written for the film. Kander and Ebb had written it years earlier for Kaye Ballard , thus it was ineligible for an Academy Award nomination.
Although "Don't Tell Mama" and "Married" were removed as performed musical numbers, both were used in the film. The former's bridge section appears as instrumental music played on Sally's gramophone; the latter is initially played on the piano in Fraulein Schneider's parlor and later heard on Sally's gramophone in a German translation "Heiraten" sung by cabaret singer Greta Keller. All tracks written by John Kander and Fred Ebb. The following songs from the original Broadway production were omitted from the film version: "So What? Some of these selections are used as instrumentals as gramophone selections.
The film was immediately successful at the box office. Roger Ebert gave a positive review, saying: "This is no ordinary musical. Instead of cheapening the movie version by lightening its load of despair, director Bob Fosse has gone right to the bleak heart of the material and stayed there well enough to win an Academy Award for Best Director. Liza Minnelli heads a strong cast. Pauline Kael wrote a review applauding the film: "A great movie musical. Taking its form from political cabaret, it's a satire of temptations.
In a prodigious balancing act, Bob Fosse, the choreographer-director, keeps the period—Berlin, —at a cool distance. We see the decadence as garish and sleazy; yet we also see the animal energy in it—everything seems to become sexualized.
The movie does not exploit decadence; rather, it gives it its due. With Joel Grey as our devil-doll host—the master of ceremonies—and Liza Minnelli in her first singing role on the screen as exuberant, corruptible Sally Bowles , chasing after the life of a headliner no matter what; Minnelli has such gaiety and electricity that she becomes a star before our eyes.
In , film critic Peter Bradshaw listed Cabaret at number one on his list of "Top 10 musicals", describing it as "satanically catchy, terrifyingly seductive Cabaret is drenched in the sexiest kind of cynicism and decadent despair. Although less explicit compared to other films made in the s, Cabaret dealt explicitly with topics like corruption, sexual ambiguity, false dreams, and Nazism. Tim Dirks at Filmsite.
There was considerable sexual innuendo, profanity, casual sex talk homosexual and heterosexual , some evidence of anti-Semitism, and even an abortion in the film. The "Tomorrow Belongs to Me" scene was controversial, with Kander and Ebb, both of whom were Jews, sometimes being wrongly accused of using a real Nazi song. The article stated that the elimination had been made "because of the feeling that it might stir up resentments in the audience by showing the sympathizers for the Nazi movement during the '30s".
The sequence was restored, however, when the film was shown on West German television on November 7, Another topic of discussion was the song "If You Could See Her", which closed with the line: "If you could see her through my eyes, she wouldn't look Jewish at all". The point of the song was showing anti-Semitism as it begins to run rampant in Berlin, but there were a number of Jewish groups who interpreted the lyrics differently.
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The film earned a total of eight Academy Awards in the 45th Academy Awards :. View All. Fall TV. American Horror Story: Reviews. Log in with Facebook. Email address. Log In. First Name. Last Name.
From Screen to Stage: Songs From 9 Movie Musicals That Ended Up on Broadway | Playbill
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Pop Music Meets Horror Film At This Terrifyingly Entertaining Cabaret Show
Cancel Resend Email. Add Article. Cabaret Critics Consensus Great performances and evocative musical numbers help Cabaret secure its status as a stylish, socially conscious classic. Want to see. Super Reviewer. View All Videos 1. View All Photos 1. Movie Info. Adapted from the Broadway show, this hard-hitting musical drama is set in decadent s Berlin during Hitler's rise to power. The film chronicles Cambridge student Brian Roberts' friendship with the high-spirited Sally Bowles, a singer at the sleazy Kit Kat nightclub, where the anti-Semitic emcee sets a tone of debauchery.
Bob Fosse. Jay Presson Allen , Hugh Wheeler. Apr 28, Twentieth Century Fox Home Entertainment. Liza Minnelli as Sally Bowles. Joel Grey as Master of Ceremonies. Michael York as Brian Roberts. Marisa Berenson as Natalia Landauer. Helmut Griem as Maximilian von Heune. Fritz Wepper as Fritz Wendel. Elisabeth Neumann-Viertel as Fraulein Schneider. Sigrid Von Richtofen as Fraulein Maur. George Hartmann as Willi.
Helen Vita as Fraulein Kost.