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Also cut were the joyous "So What? Kander and Ebb wrote several new songs for the film and removed others.
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.
In the film, the song concludes with the line "She wouldn't look Jewish at all," a return to the original lyrics by Fred Ebb.
All tracks are written by John Kander and Fred Ebb. The film was immediately successful at the box office. Roger Ebert gave a positive review in January , 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.
A Variety staff critic appraised the film in December "The film version of the John Kander-Fred Ebb Broadway musical Cabaret is most unusual: it is literate, bawdy, sophisticated, sensual, cynical, heart-warming, and disturbingly thought-provoking.
Liza Minnelli heads a strong cast. Bob Fosse's generally excellent direction recreates the milieu of Germany some 40 years ago.
Roger Greenspun of The New York Times wrote in February that " Cabaret is one of those immensely gratifying imperfect works in which from beginning to end you can literally feel a movie coming to life.
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.
Although Cabaret was well-received by film critics upon its release,     author Christopher Isherwood and other persons upon whom the film's characters were based were less receptive towards the cinematic adaptation.
He is a bisexual Englishman; he has an affair with Sally and, later, with one of Sally's lovers, a German baron Brian's homosexual tendency is treated as an indecent but comic weakness to be snickered at, like bed-wetting.
Similarly, Isherwood's friend Jean Ross —upon whom the character of Sally Bowles was based  : 26 —was ambivalent about the film.
That's what took us to [Weimar-era] Berlin. The climate was freer there. What we mostly knew was the Berlin of poverty, unemployment, political demonstrations and street fighting between forces of the extreme left and the extreme right.
Both Spender and Ross contended that the film and Broadway musical deleteriously glamorized the harsh realities of the s Weimar era.
Cabaret is drenched in the sexiest kind of cynicism and decadent despair. Although less explicit compared with 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.
On the topic of Nazism, there was little consensus among critics about the possibly fascist implications of the film and play. However, critic Steven Belletto wrote a critique of Cabaret in the Criticism journal, published by Wayne State University Press , in which he highlighted the anti-fascist themes in the film present both within and outside of the musical acts.
According to Belletto, "despite the ways that the film has been understood by a variety of critics, [ Cabaret ] rejects the logic of fascist certainty by staging various numbers committed to irony and ambiguity.
The "Tomorrow Belongs to Me" scene was controversial, with Kander and Ebb, both of whom were Jews, sometimes being wrongly accused of using a historical Nazi song.
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.
Cabaret earned a total of 10 Academy Award nominations winning 8 of them and holds the record for most Academy Awards won by a film which did not win the Academy Award for Best Picture.
Shortly before the Academy Awards , Bob Fosse won 2 Tony Awards for directing and choreographing Pippin , his biggest stage hit to date.
Months later, he won the Primetime Emmy Award for choreographing and directing Liza Minnelli 's television special Liza with a Z , he became the first director to win all three awards in one year.
Inducted into the National Film Registry in among a list of 25 Films that year. Cabaret has been cited by TV Guide as among the greatest films ever made,  and in Movieline magazine as one of the " Best Movies Ever".
David Benedict has written in The Guardian about Cabaret' s influence in musical films: "Back then, musicals were already low on film-goers' lists, so how come it was such a success?
Simple: Cabaret is the musical for people who hate them. Given the vibrancy of its now iconic numbers — Liza Minnelli in bowler and black suspenders astride a bentwood chair belting out 'Mein Herr' or shimmying and shivering with pleasure over 'Money' with Joel Grey — it sounds strange to say it, but one of the chief reasons why Cabaret is so popular is that it's not shot like a musical.
The film has been listed as one of the most important for queer cinema for its depictions of bisexuality,  arguably transgressive at the time of its post-Code release and has been credited with turning Liza Minnelli into a gay icon.
Film blogs have selected it as "the gayest winner in the history of the Academy. The film was first released to DVD in There have been subsequent releases in , , and From Wikipedia, the free encyclopedia.
Theatrical release poster. Release date. Running time. Further information: Christopher Isherwood and Jean Ross. Liza Minnelli as Sally Bowles left in the film.
Minnelli modeled the character's appearance upon Louise Brooks right , an American actress who was famous in s Weimar Germany.
Worldwide Box Office. Retrieved January 21, December 31, Retrieved December 7, The New York Times. Retrieved February 28, Turner Classic Movies.
Archived from the original on October 21, Retrieved February 8, The Guardian. Retrieved February 7, Retrieved June 22, Archived from the original on June 12, Retrieved June 12, The New Yorker.
Retrieved February 6, Library of Congress, Washington, D. Retrieved February 27, Retrieved May 28, Daily Mail. London, UK.
Retrieved November 19, Morning Star. Retrieved February 20, Berkeley, California : University of California Press. Oxford Dictionary of National Biography online ed.
Oxford University Press. Retrieved June 18, Subscription or UK public library membership required. The New Republic. New York City.
Retrieved October 2, Christopher Isherwood: A Personal Memoir. New York : Henry Holt and Company. Christopher and His Kind: A Memoir, New York: Farrar, Straus and Giroux.
Christopher Isherwood Encyclopedia. May 28, The Making of Cabaret. Oxford: Oxford University Press. Day at Night. Season 2.
Episode Episode Information. The Washington Post. Inside the Actors Studio. Season Episode 6. February 5, Youngstown Vindicator. Associated Press.
Internet Broadway Database. Retrieved December 21, Retrieved March 25, Recording Industry Association of America. Daily Mirror. Liberation: Diaries, Vol.
New York : HarperCollins. Washington, D. Retrieved December 3, British Board of Film Classification. Retrieved May 11, The Independent.
Retrieved May 21, The best Nazi song is by Jewish songwriters. As with "Ol' Man River", when Cabaret called for an ostensibly innocent pastoral hymn to German nationalism, John Kander and Fred Ebb turned in such a plausible doppelganger that it was immediately denounced as a grossly offensive Nazi anthem.
A rabbinical person wrote to me saying he had absolute proof it was a Nazi song. But today, it's the only Nazi song we all know: On election night , when Spitting Image decided to draw some crass parallels between Mrs Thatcher and another strong leader, they opted to show the Tories singing not the Horst Wessel song, but "Tomorrow Belongs To Me" — secure in the knowledge that we'd all get the joke.
Academy of Motion Picture Arts and Sciences. March Archived from the original on July 1, Retrieved September 15, Archived from the original on March 2, Retrieved February 21, James, James June 8, The WOW Report.
Archived from the original on April 24, In the United States striptease , burlesque , drag shows , or a solo vocalist with a pianist, as well as the venues which offer this entertainment, are often advertised as cabarets.
The term originally came from Picard language or Walloon language words camberete or cambret for a small room 12th century. The first printed use of the word kaberet is found in a document from in Tournai.
The term was used since the 13th century in Middle Dutch to mean an inexpensive inn or restaurant caberet , cabret. The word cambret , itself probably derived from an earlier form of chambrette , little room, or from the Norman French chamber meaning tavern, itself derived from the Late Latin word camera meaning an arched roof.
Cabarets had appeared in Paris by at least the late fifteenth century. They were distinguished from taverns because they served food as well as wine, the table was covered with a cloth, and the price was charged by the plate, not the mug.
In the seventeenth century, a clearer distinction emerged when taverns were limited to selling wine, and later to serving roast meats.
Cabarets were frequently used as meeting places for writers, actors, friends and artists. In French poets, painters, musicians and writers began to meet in a cabaret called Le Caveau on rue de Buci, where they composed and sang songs.
The Caveau continued until , when it was forced to close because its clients wrote songs mocking the royal government. The most famous was the Cafe des Aveugles in the cellars of the Palais-Royal , which had a small orchestra of blind musicians.
The first cabaret in the modern sense was Le Chat Noir in the Bohemian neighborhood of Montmartre , created in by Rodolphe Salis , a theatrical agent and entrepreneur.
Its clientele a mixture of writers and painters, of journalists and students, of employees and high-livers, as well as models, prostitutes and true grand dames searching for exotic experiences.
The cabaret was too small for the crowds trying to get in; at midnight on June 10, Salis and his customers moved down the street to a larger new club at 12 rue de Laval, which had a decor described as "A sort of Beirut with Chinese influences.
By there were fifty-six cabarets and cafes with music in Paris, along with a dozen music halls. The cabarets did not have a high reputation; one critic wrote in that "they sell drinks which are worth fifteen centimes along with verses which, for the most part, are worth nothing.
Some were purely theatrical, producing short scenes of plays. Some focused on the macabre or erotic. The Caberet de la fin du Monde had servers dressed as Greek and Roman gods and presented living tableaus that were between erotic and pornographic.
By the end of the century there were only a few cabarets of the old style remaining where artists and bohemians gathered.
The music hall , first invented in London, appeared in Paris in It offered more lavish musical and theatrical productions, with elaborate costumes, singing and dancing.
The theaters of Paris, fearing competition from the music halls, had a law passed by the National Assembly forbidding music hall performers to wear costumes, dance, wear wigs, or recite dialogue.
The public took the side of the music halls, and the law was repealed. It was greatly prominent because of the large red imitation windmill on its roof, and became the birthplace of the dance known as the French Cancan.
The Olympia , also run by Oller, was the first to be called a music hall; it opened in , followed by the Alhambra Music Hall in , and the Printania in The Printania, open only in summer, had a large music garden which seated twelve thousand spectators, and produced dinner shows which presented twenty-three different acts, including singers, acrobats, horses, mimes, jugglers, lions, bears and elephants, with two shows a day.
In the 20th century, the competition from motion pictures forced the dance halls to put on shows that were more spectacular and more complex.
Its stars in the s included the American singer and dancer Josephine Baker. The Crazy Horse Saloon , featuring strip-tease, dance and magic, opened in The Olympia Paris went through a number of years as a movie theater before being revived as a music hall and concert stage in A handful of music halls exist today in Paris, attended mostly by visitors to the city; and a number of more traditional cabarets, with music and satire, can be found.
In the Netherlands, cabaret or kleinkunst literally: "small art" is a popular form of entertainment, usually performed in theatres.
The birth date of Dutch cabaret is usually set at August 19, It is often a mixture of stand-up comedy, theatre, and music and often includes social themes and political satire.
Nowadays, many cabaret shows of popular "cabaretiers" performers of cabaret are being broadcast on national television, especially on New Year's Eve, when you can choose from several special cabaret shows in which the cabaretier usually reflects on large events of the past year.
German Kabarett developed from , with the creation of the Überbrettl Superstage venue, and by the Weimar era in the mids, the Kabarett performances were characterized by political satire and gallows humor.
The Polish kabaret is a popular form of live often televised entertainment involving a comedy troupe, and consisting mostly of comedy sketches , monologues , stand up comedy , songs and political satire often hidden behind double entendre to fool censors.
American cabaret was imported from French cabaret by Jesse Louis Lasky in Chicago cabaret focused intensely on the larger band ensembles and reached its peak during Roaring Twenties , under the Prohibition Era , where it was featured in the speakeasies and steakhouses.
New York cabaret never developed to feature a great deal of social commentary. Julius Monk 's annual revues established the standard for New York cabaret during the late s and '60s.
Cabaret in the United States began to decline in the s, due to the rising popularity of rock concert shows, television variety shows , [ citation needed ] and general comedy theaters.
However, it remained in some Las Vegas-style dinner shows, such as the Tropicana , with fewer comedy segments.
The art form still survives in various musical formats, as well as in the stand-up comedy format, and in popular drag show performances.
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