Synopsis
Life is a Cabaret.
Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles and an impish emcee sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force.
Inside the Kit Kat Club of 1931 Berlin, starry-eyed singer Sally Bowles and an impish emcee sound the clarion call to decadent fun, while outside a certain political party grows into a brutal force.
Кабаре, 酒店, 캬바레, 카바레, Jay Presson Allen cabaret, Καμπαρέ, Adiós, Berlín, Kabare, Adieu Berlin, Kabaré, काबरे, Kyabarê, キャバレー, Kabaretas, Kabaret, Cabaret - Adeus Berlim, Cabaret, Adeus Berlim, Kabare - Elveda Berlin, Cabaret - Adeus, Berlim, 歌厅, קברט, کاباره, კაბარე, คาบาเร่ต์, Kabaree, Kabarē
he really said "so do i" just like that.... i was shook for the rest of the movie
i'm surprised dancing on top of those chairs didn't cause her vertigo to start up
This review may contain spoilers. I can handle the truth.
"screw maximillian"
"..i do"
"...so do i..."
oh... oh!
the beer garden scene is seriously one of the creepiest scenes ever committed to film
The music here is untouchable, as is Fosse's psychotic low-angle direction that makes the Kit Kat Club feel like a never-ending bad dream. Made me think "wow, Berlin seems like it was really scary back then." Then the Nazi stuff kicks in and I was like "oh right right right."
me: haha what a fun queer romp
also me: isn’t it terrifying watching this in 2018 and realizing that the slow rise of the nazi party that happened in 1931 berlin mirrors the way the united states has allowed neo nazi pieces of shit to rise rather rapidly due to not taking them seriously until they’re the only people in the audience
Who hasn’t fumbled through polyamory whilst performing alt comedy during a fascist uprising
who wants to join my new club? it’s called BWPN, which stands for “bisexuals who punch nazis” and its formation is in honor of mr. brian roberts, my hero.
I’m braver than the marines for admitting that I think this should’ve won Best Picture over The Godfather
Performative distraction can only last so long. From the beginning it’s insisted that we leave our troubles at the door—in order to enjoy the fun, the sex, the parties, we must suspend our disbelief to the point of having no worries. Charmed and cavalier, we comply. Posters touting Mein Kampf morals become background pieces that establish setting, boys playing war in a field are merely a distraction from a more interesting conversation, and we’re too concerned with choreography and divine decadence to see the convergence of the two. The plot of the film we think we’re watching relies on the idea that life within the Cabaret is free; dress as you want, love who you want, be what you want—just…