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Bob Fosse
Liza Minnelli, Michael York, Helmut Griem, Joel Grey, Fritz Wepper, Marisa Berenson, Elisabeth Neumann-Viertel, Helen Vita
Writing Credits:
Christopher Isherwood (book, "Berlin Stories"), John Van Druten (play, "I Am a Camera"), Joe Masteroff (musical, "Cabaret"), Jay Presson Allen

Life is a Cabaret.

Winner of eight Academy Awards, Cabaret brings 1931 Berlin to madcap and menacing life inside and outside the Kit Kat Club. There, starry-eyed singer/actress Sally Bowles (Liza Minnelli) and an impish emcee (Joel Grey) sound the clarion call to decadent fun, while in the streets a certain political party grows from laughing stock to brutal force. Cabaret caught lightning for Minnelli, Grey and director Bob Fosse, who shaped a triumph of style, showmanship and substance. All three won Oscars, as did cinematographer Geoffrey Unsworth and music supervisor Ralph Burns, who adapted the dynamic John Kander/Fred Ebb score, with "Mein Herr", "The Money Song" and "Maybe This Time" all newly supplied for the film.

Box Office:
$6 million.
Domestic Gross
$42.765 million.

Rated PG

Aspect Ratio: 1.85:1
English DTS-HD MA 5.1
Latin Spanish
Supplements Subtitles:

Runtime: 123 min.
Price: $27.98
Release Date: 2/5/2013

• Audio Commentary with Film Professor Stephen Tropiano
• “Cabaret: The Musical That Changed Musicals” Featurette
• “Cabaret: A Legend in the Making” Featurette
• “The Recreation of an Era” Vintage Featurette
• “The Kit Kat Klub Memory Gallery” Featurettes
• Trailer


Panasonic 50" TH-50PZ77U 1080p Plasma Monitor; Sony STR-DG1200 7.1 Channel Receiver; Panasonic DMP-BD60K Blu-Ray Player using HDMI outputs; Michael Green Revolution Cinema 6i Speakers (all five); Kenwood 1050SW 150-watt Subwoofer.


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Cabaret [Blu-Ray Book] (1972)

Reviewed by Colin Jacobson (April 3, 2013)

Although usually both Best Picture and Best Director go to the same film, Oscar doesn’t always agree. Such a split occurred in 1972. Although The Godfather took home the Best Picture prize, Bob Fosse won Best Director for 1972’s Cabaret.

Francis Ford Coppola would snare his own Best Director trophy two years later with The Godfather Part II - another Best Picture winner as well - so we shouldn’t shed too many years for him here. I will say it’s too bad that Coppola didn’t get the Best Director prize for the first Godfather simply because it’s a vastly superior film to Fosse’s unmemorable flick.

Cabaret takes us to Berlin in 1931. British Brian Roberts (Michael York) comes to town to teach English to German students. When he rents a room in a local boarding house, he meets free-spirited American cabaret performer Sally Bowles (Liza Minnelli). They become fast friends, though his apparent disinterest in women prevents them from becoming lovers.

That eventually changes, as his heterosexual libido awakens and he and Sally become a couple. We meet a few other associates as well via some of Brian’s students. He takes on wealthy heiress Natalia Landauer (Marisa Berenson), and aspiring gigolo Fritz Wendel (Fritz Wepper) – sets his sights on her.

Those two eventually develop a relationship, but the focus remains on Sally and Brian – and a third member of the love triangle when mega-rich Maximilian von Heune (Helmut Griem) enters the scene. Opportunistic Sally sees him as a ticket to stardom and a better life, so she lets him wine and dine her. The movie follows the various romantic machinations as well as the rise of the Nazis.

Cabaret qualifies as a musical, but it doesn’t fall in line with the typical entry in the genre. Virtually all of its production numbers come from the stage of the Kit Kat Klub. These may reflect the attitudes of the characters – such as when Sally sings “Maybe This Time I’ll Win” after she and Brian become lovers. However, they don’t represent the “people abruptly bursting into song” school of musical performances.

And that’s a good thing, since I’ve never cared much for the unreality found in the standard musical. Unfortunately, other than the quality of the performance numbers – which Fosse stages well – I can’t find much in Cabaret that does it for me. One complaint I often have with musicals come from the thinness of their stories. Many musicals use so much of their time to throw singing and dancing at us that they lack the room to develop plot and character.

Cabaret actually comes with fewer production numbers than most flicks in its genre, but it still doesn’t manage to provide satisfying storytelling. The tale creeps along at a glacial pace, and even halfway through the flick, it doesn’t feel like anything much has changed. Sally still comes across like a silly floozy and Brian remains a buttoned-down milquetoast. Why do they like each other at all – much less develop a romantic relationship? I have no idea, since they don’t display any chemistry or connection.

Whatever story we get lacks much intricacy or punch. The inclusion of the Nazi threat feels gratuitous and doesn’t fit the plot well at all. It seems like they’re there just to present an easy background menace. I don’t feel the Nazi elements fit with the rest of the story; they add nothing and simply appear tacked onto the framework.

Maybe there’s depth to Cabaret that I missed, and maybe if I see it again, I’ll take greater pleasure from it. Right now, unfortunately, I find it to be a big old bore. It presents some clever and well-staged production numbers, but when it focuses on characters and story, it goes nowhere.

The Blu-ray Grades: Picture B/ Audio B-/ Bonus B

Cabaret appears in an aspect ratio of approximately 1.85:1 on this Blu-ray Disc. Though the image showed its roots, it generally looked nice.

Sharpness was mostly fine. Some softness cropped up, but I felt those instances stemmed from the source; overall definition appeared acceptable to good. No issues with jagged edges or shimmering occurred, and I witnessed no signs of edge haloes. Digital noise reduction didn’t appear to intrude, as the film came with appropriate grain, and it also lacked specks, spots or other print flaws.

Colors were fine. The movie occasionally showed some lively tones, but often the hues went with a more subdued brownish tint. This reflected the production design; when allowed to shine – such as during some daytime exteriors – the colors appeared more dynamic. Blacks were fairly dark, and shadows were acceptable; some low-light shots could be a bit dense, but most showed adequate delineation. Nothing here excelled, but the image was a good reflection of the original photography.

As for the DTS-HD MA 5.1 soundtrack of Cabaret, it seemed dated but decent. I did find the soundfield to be more ambitious than usual for a movie from 1972, though it never really soared. Vague stereo imaging came with the music, and effects broadened moderately to the sides and rears. Though the score and songs lacked speaker-specificity, the effects worked better; they appeared in logical spots and moved fairly smoothly. These elements didn’t have much to do, but they gave the track some openness.

Audio quality was adequate. Speech tended to be a bit stiff, but the lines were intelligible and without edginess. Music came across as a little muted but still appeared reasonably peppy, while effects followed suit. These components were a bit flat but they gave us reasonable clarity based on their age, and some decent low-end occasionally materialized. In the end, the audio didn’t impress, but it was satisfactory for its era.

How did the Blu-ray compare to the original DVD release? Audio showed a bit more clarity and also provided a better-defined soundfield. Visuals looked tighter and cleaner, with smoother colors. I wasn’t at all pleased with the last DVD, so the Blu-ray provided an obvious improvement.

The Blu-ray mixes old and new materials. In the “new” category, we get an audio commentary from film professor/author Stephen Tropiano. He offers a running, screen-specific look at the movie’s roots and path to the screen, story/character/adaptation issues, facts behind the tale’s fiction, sets and locations, choreography, songs and musical numbers, cast and performances, aspects of Bob Fosse’s life and career, and a few other areas.

While not a scintillating commentary, Tropiano usually delivers a good chat. He gives us a nice array of details and fleshes out various subjects in a satisfying manner. Despite the occasional lull, this becomes a worthwhile and engaging piece.

Next comes The Recreation of an Era, a vintage featurette. The six-minute, four-second piece takes us to the set and provides a discussion of the cast and characters, the locations, and director Bob Fosse’s work on the production. We also get a few remarks from actors Liza Minnelli and Michael York. Expect little substance from this quick and fluffy promotional program.

For something newer, we go to the 17-minute and 31-second Cabaret: A Legend in the Making. Created for the film’s 25th anniversary in 1997, it features notes from Minnelli, York, former ABC Films president Martin Baum, Allied Artists president and CEO Emanuel L. Wolf, producer Cy Feuer, screenwriter Jay Presson Allen, lyricist Fred Ebb, composer John Kander, and actor Joel Grey. We find out how the stage musical came into being and its path to the screen. From there we learn how Fosse got the gig as director, location scouts and the stage play’s adaptation, the musical’s songs and their use in the flick, cast and performances, Fosse’s style on the set, and reactions to the final product.

“Legend” is way too short to act as a thorough examination of the film’s production. However, it serves to give us a pretty nice overview. Some of the best moments come from various camera tests and other behind the scenes material. “Legend” adds enough good details to those elements to make it a winning – albeit too brief – program.

Along with the film’s trailer, a collection of short interview clips appears under the banner of The Kit Kat Klub Memory Gallery. We hear from Minnelli (3 clips, three minutes, 42 seconds total), Grey (3, 2:35), York (4, 2:56), Baum (3, 5:31), Feuer (1, 1:12), Wolf (2, 1:21), Kander (3, 1:56), Allen (2, 0:38) and Ebb (2, 1:56). The participants cover too broad a spectrum of topics for me to recap them thoroughly. Suffice it to say that we learn a nice mix of thoughts related to their experiences on the film and related issues. The clips suffer from a lack of cohesion, but they’re informative and worth a look nonetheless.

In addition to the film’s trailer, a few text pieces complete the set. We get mediocre Cast & Crew bios for director Bob Fosse, screenwriter Jay Presson Allen, producer Cy Feuer and actors Liza Minnelli, Michael York, Helmut Griem, Marisa Berenson and Joel Grey. The Story provides some info about the project’s roots and On Location discusses shooting in West Germany. Kander & Ebb offers gives us biographies of the songwriters, while Awards lists the various prizes won by the film.

New to the Blu-ray, Cabaret: The Musical That Changed Musicals runs 28 minutes, 40 seconds and includes notes from Minnelli, Grey, Tropiano, Kander, York, Bob Fosse biographer Sam Wasson, All His Jazz: The Life and Death of Bob Fosse author Martin Gottfried, Chicago director Rob Marshall, Fosse’s daughter Nicole, All That Jazz editor Alan Heim, dancers Kathryn Doby and Louise Quick, All That Jazz actor Ben Vereen, Broadway performers Bebe Neuwirth and John DeLuca, and assistant director Wolfgang Glattes.

“Changed” looks at the career of Bob Fosse and how he ended up on Cabaret, the adaptation and production of the film, songs and choreography, cast and performances, and the flick’s reception/success. It offers a general take on the production, but it’s a pretty good one.

Cabaret’s positive reputation has endured over the last 40 years, but I must admit I don’t really get the film’s appeal. I think it offers some strong production numbers but the thinness of its story and characters makes it less than involving. The Blu-ray delivers good picture and audio along with a fairly nice roster of bonus materials. While I’m not wild about the movie, I think the Blu-ray brings it home well.

To rate this film visit the original review of CABARET

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