Goodbye to Berlin

Cabaret (1972) 

Yes, I know there is a trend to this blog - films set in/about Berlin. Some of it is coincidence, some of it my intrigue into the city and how it has been shaped by its history and mythology as being a turbulent city with war, peace and bohemians. 

In Cabaret, Berlin is not landlocked between Capitalist and Communist states, but instead is being roused up by Fascism: its 1931 and the Nazis are shaking the status quo. However, the film is not centred around the politics of the country. There is instead a jazzy, uplifting yet ambiguous romance between whimsical Cabaret dancer Sally Bowles and refined English teacher and Cambridge graduate Brian Roberts. They have a symbiotic relationship as Sally Bowles' attitude to life; carefree but entangled in childish desires affects 'Bri' as he loosens up and feeds off the energy that Berlin feeds. Again, it is interesting though how two lifestyles conflict between their hedonism and the foreboding maliciousness of the Nazi's that are soon to enthrall Germany. Brian becomes angry and their tightening grip yet still citizens believe they will pass out of popularity soon.

The film is undoubtedly erotic although its displayed more obscure than expected. The Kit Kat Cabaret club opens the film and becomes a motif for displaying Sally Bowles's thoughts through the songs she performs along side the enigmatic, but frolicsome MC (Joel Grey). The noise and colour are exciting and the dances are dynamic and very theatrical. The setting is a fusion of vintage, with modern highlights as Bob Fosse (Director & Choreographer) displays his unique choreography - and the costume design, although true to the era, reflects the trend in the 70s to emulate the style of the 30s.

Sally Bowles as Liza Minelli is perfect casting as she portrays a confidant exterior when dancing, her sensual routines combined with her definitive black outfit with the bowler hat. This is juxtaposed with her childlike face, yearning eyes and ladybird-esque hair cut that defines her but incorporates her vulnerability alongside youthful integrity. These attributes make her a very curious and engaging character!

They are just too good!

The dynamism of the characters, who slot into the bubbling location successfully, mean that relationships fluctuate just as the city is constantly changing. Christopher Isherwood - the author of the original text that influences the film - mirrors himself in the text as Brian. Brian is indecisive about his sexuality which makes him seem more insecure - this feeling is echoed all around the film - as if he is moving away from his repressive background of Cambridge University, into the unknown and almost wholly accepting society of Cabaret dancers and Playboy millionaires.

Apart from these serious undertones, the film has a great soundtrack, the song Money makes the World go around is very relevant today. This film should never become decadent.
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