Cabaret (1972)
Directed by Bob Fosse
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.
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What critics compared Cabaret to
Here, it's an underground variant of Cabaret, shot with an exploitative lens that's more Todd Browning than the Baz Luhrmann it desires.
…a particularly charming, campy, Americana gothic aesthetic that is reminiscent of Cabaret…
…when the grungy club scenes arise, they’re reminiscent of “Cabaret”…
Homenaje al terror clase B, al gore y a los clásicos de monstruos de la Universal, a las historias de amor épicas y trágicas que van desde Romeo y Julieta hasta Bonnie & Clyde, al musical paródico con estética camp con citas que incluyen a El joven Frankenstein, The Rocky Horror Picture Show y Cabaret, a las películas de gánsteres, al film noir (Pacto de sangre / Double Indemnity), a las screwball comedies (Ayuno de amor / His Girl Friday), a las road movies (Thelma & Louise), pero también con elementos que remiten de forma directa a la exitosa Guasón y al despliegue pop de Zack Snyder…
…there are allusions to Cabaret…
‘Wicked’ era clasicismo en estado puro aunque su mecanismo interior nos llevaba a ‘Cabaret’, de Bob Fosse. Fosse, nombre capital en el musical como coreógrafo, bailarín y actor, rompió con las reglas del género en ‘Cabaret': la coreografía se lograba con el montaje en la moviola de las imágenes.
No es Cabaret, cuidado, pero como si lo fuese. Si se mira desde un poco de distancia, la película de Bob Fosse llegó a la cartelera el mismo año que fueron detenidos unos sujetos por entrar sin permiso en el complejo Watergate del Partido Demócrata y que sería el desencadenante del escándalo que acabaría con el mentiroso Richard Nixon.
…and “Cabaret’s” Joel Grey (who coincidentally played the Wizard role on Broadway)…
From its jaunty score and smoky-nightclub motifs to its robust and vibrant dancing, their Chicago evokes Cabaret while also carving its own Jazz-Age identity.
You can't help wondering what Fosse would have done to add some panache and ferocity toa film version of Chicago, a musical that was created in the mid-seventies, after his movies Cabaret and Lenny, and before the autobiographical All That Jazz.
Socking out her songs and story on stage, cluing us in to all the dirt from the time she shoots her faithless lover to her sensational trial and its strange aftermath, star-struck Roxie turns her sordid saga into a glitzy vaudeville act, while a slithery emcee-bandleader (Taye Diggs) calls the shots, a la "Cabaret."At…
Those of us lucky enough to have seen his production, with songs by Kander and Ebb that stand comparison with their Cabaret score, can still remember Jerry Orbach as Roxie�s grandstanding lawyer, Billy Flynn, transforming himself into Clarence Darrow for his big courtroom number, "Razzle Dazzle."
It seems inconceivable that we’ll have a sustained period of musicals on the big screen that can equate to the era between and including West Side Story and Cabaret.
It's similar to the way Fosse himself transformed Harold Prince's "Cabaret" for the screen, some 30 years ago, by putting its musical numbers into a logical context (in that case, on the stage of the Kit Kat Klub), and it works splendidly.
“La La Land” is long way from “West Side Story” or “Cabaret” — two great (determinedly tragic) musicals that this film tries to emulate.
In so many ways, “La La Land” is a throwback to all those classic musicals of the late 1930s, ’40s and ’50s, though it clearly shows the influence of such later productions as Jacques Demy’s “The Umbrellas of Cherbourg” and Bob Fosse’s “Cabaret.”
For depth, Sebastian has jazz and Mia has a dead aunt who jumped in a river in Paris once, leading to her Cabaret moment where she sings her heart out for stardom.
Stone drew on her Broadway experience as Sally Bowles in the revival of "Cabaret" starting in 2014.
But Stone has done Cabaret on Broadway and Gosling is a former member of the Mickey Mouse Club ... so all things considered, more than qualified.
Chazelle recruited Stone when she was performing Cabaret on Broadway.
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Sam Mendes is known for directing plays with a fierce sexual edge, including The Blue Room and the current Cabaret revival (if nothing in American Beauty is half as devastating as the new Cabaret, it ain't for lack of trying), and first-time screenwriter Alan Ball was a theater major and playwright before making his name in television, writing for Cybill and Grace Under Fire.
A hotshot English theater director (his Cabaret revival is still on the boards in New York), Mendes gives the film a patina of New Age lyricism and layer upon layer of visual irony.
The view is courtesy of the British stage director Sam Mendes ( "The Blue Room," "Cabaret" ), and we've seen it before, no?
The first motion picture directed by theater veteran Sam Mendes ("The Blue Room," the "Cabaret" revival), "American Beauty" was written by Alan Ball, another Broadway vet and feature film rookie.
Mostly “Babylon” sticks to Pitt, Robbie and Calva, though the real protagonist is Chazelle’s notion of what Sally Bowles in “Cabaret” called divine decadence, light on the divinity.
It doesn't help that in one pivotal scene Leto shows up in white tie and tails, looking for all the world like Joel Grey in Cabaret.
When Bob Fosse made "Cabaret," he completely reimagined it for the screen.