Cabaret 1972 Full Movie Free

[Mirta Dozar]

Cabaretis a 1972 American musical period drama film directed by Bob Fosse from a screenplay by Jay Allen, based on the stage musical of the same name by John Kander, Fred Ebb, and Joe Masteroff,[3] which in turn was based on the 1951 play I Am a Camera by John Van Druten and the 1939 novel Goodbye to Berlin by Christopher Isherwood.[3][4] It stars Liza Minnelli, Michael York, Helmut Griem, Marisa Berenson, and Joel Grey. Multiple numbers from the stage score were used for the film, which also featured three other songs by Kander and Ebb, including two written for the adaptation.[5][6]

In the traditional manner of musical theater, most major characters in the stage version sing to express their emotions and advance the plot; in the film, however, the musical numbers are almost entirely diegetic and take place inside the club,[5][4] with the exception of "Tomorrow Belongs to Me", which is not performed in the club or by the club characters, but is still diegetic, a nationalistic song sung by a Nazi youth and the German crowd.[7]

Cabaret was released in the United States on February 13, 1972, by Allied Artists. The film received critical acclaim and eventually earned more than $42 million in the box office against a production budget of $4.6 million.[2][5][8][3][9] It won Best Picture citations from the National Board of Review and the Hollywood Foreign Press Association, and took Best Supporting Actor honors for Grey from the National Board of Review, the Hollywood Foreign Press, and the National Society of Film Critics. At the 45th Academy Awards, the film won Best Director (Fosse), Best Actress (Minnelli), Best Supporting Actor (Grey), Best Cinematography, Best Film Editing, Best Original Song Score, Best Art Direction, and Best Sound, holding the record for most Oscars earned by a film not honored for Best Picture. In 1995, Cabaret was the twelfth live-action musical film selected by the Library of Congress for preservation in the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".[10][11]

In 1931 Berlin, a young, openly promiscuous American Sally Bowles performs at the Kit Kat Klub. A new British arrival in the city, Brian Roberts, moves into the boarding house where Sally lives. A reserved academic and writer, Brian must give English lessons to earn a living while completing his doctorate. Sally tries to seduce Brian, but he tells her that on three previous occasions he has tried to have sexual relationships with women, all of which failed. They become friends, and Brian witnesses Sally's bohemian life in the last days of the Weimar Republic. When Brian consoles Sally after her father cancels his meeting with her, they become lovers, concluding that his previous failures with women were because they were "the wrong three girls".

Maximilian von Heune, a rich, married playboy and baron, befriends Sally and takes her and Brian to his country estate where they are both spoiled and courted. After a somewhat enigmatic experience with Brian, Max drops his pursuit of the pair in haste. During an argument, Sally tells Brian that she has been having sex with Max, and Brian reveals that he has as well. Brian and Sally later reconcile, and Sally reveals that Max left them 300 marks and mockingly compares the sum with what a professional prostitute earns.

Sally learns that she is pregnant but is unsure of the father. Brian offers to marry her and take her back to his university life in Cambridge. At first, they celebrate their resolution to start this new life together, but after a picnic between Sally and Brian, in which Brian acts distant and uninterested, Sally becomes disheartened by the vision of herself as a bored faculty wife washing dirty diapers. Ultimately, she has an abortion, without informing Brian in advance. When he confronts her, she shares her fears, and the two reach an understanding. Brian departs for England, and Sally continues her life in Berlin, embedding herself in the Kit Kat Klub.

Meanwhile, Fritz Wendel, a German Jew passing as a Protestant, is in love with Natalia Landauer, a wealthy German Jewish heiress who holds him in contempt and suspects his motives. Through Brian, Sally advises him to be more aggressive, which eventually enables Fritz to win her love. However, to gain her parents' consent for their marriage, Fritz must reveal his background, which he does and the two are married by a rabbi.

The 1972 film was based upon Christopher Isherwood's semi-autobiographical stories about Weimar-era Berlin during the Jazz Age.[12][13] In 1929, Isherwood moved to Berlin in order to pursue life as an openly gay man and to enjoy the city's libertine nightlife.[12][13] His expatriate social circle included W.H. Auden, Stephen Spender, Paul Bowles, and Jean Ross.[14][15] While in Berlin, Isherwood shared lodgings with Ross, a British cabaret singer and aspiring film actress from a wealthy Anglo-Scottish family.[16][17]

While rooming together at Nollendorfstrasse 17 in Schneberg,[16][17] Isherwood and Ross met John Blomshield, a wealthy playboy who inspired the film character of Baron Maximilian von Heune.[18][19] Blomshield sexually pursued both Isherwood and Ross for a short while, and he invited them to accompany him on a trip abroad. He then abruptly disappeared without saying goodbye.[20][18][19]

Following Blomshield's disappearance, Ross became pregnant with the child of jazz pianist and later actor Peter van Eyck.[21][17] After Eyck abandoned Ross, she underwent a near-fatal abortion facilitated by Isherwood who pretended to be her heterosexual impregnator.[21][17][22][23]

While Ross recovered from the botched abortion procedure,[21] the political situation rapidly deteriorated in Germany.[15] As Berlin's daily scenes featured "poverty, unemployment, political demonstrations and street fighting between the forces of the extreme left and the extreme right,"[14] Isherwood, Spender, and other British nationals realized that they must flee the country.[15] "There was a sensation of doom to be felt in the Berlin streets," Spender recalled.[15]

In July 1968, Cinerama made a verbal agreement to make a film version of the 1966 Broadway musical but pulled out in February 1969.[6][28][29] In May 1969, Allied Artists paid a company record $1.5 million for the film rights and planned a company record budget.[6][28][29] The cost of $4,570,000 was split evenly with ABC Pictures.[6][29][1]

Fosse decided to increase the focus on the Kit Kat Klub, where Sally performs, as a metaphor for the decadence of Germany in the 1930s by eliminating all but one of the musical numbers performed outside the club. The only remaining outside number is "Tomorrow Belongs to Me",[7] a folk song rendered spontaneously by patrons at an open-air caf.[4] In addition, the show's original songwriters Kander and Ebb wrote two new songs, "Mein Herr" and "Money", and incorporated "Maybe This Time", a song they had composed in 1964 and first sung by Kaye Ballard.[32]

Minnelli had auditioned to play Sally in the original Broadway production but was deemed too inexperienced at the time, even though she had won Broadway's Tony Award for Best Actress in a Musical. By the time Cabaret reached the screen, however, Minnelli was a film star having earned an Oscar nomination as the emotionally damaged college student in The Sterile Cuckoo (1969).

"I went to my father and asked him, 'What can you tell me about 1930s glamour? Should I be emulating Marlene Dietrich or something?' And he said 'No, study everything you can about Louise Brooks.'"[34]

Although the songs throughout the film allude to and advance the narrative, every song except "Tomorrow Belongs to Me" is executed in the context of a Kit Kat Klub performance.[37][7] The voice heard on the radio reading the news throughout the film in German was that of associate producer Harold Nebenzal, whose father Seymour Nebenzahl produced such notable Weimar films as M (1931), Testament of Dr. Mabuse (1933), and Threepenny Opera (1931).

The film opened at the Ziegfeld Theatre in New York City on February 13, 1972, with a single performance benefit grossing $2,538.[49] It started regular showings at the Ziegfeld from February 14, grossing $8,684 in its opening day, and a house record $80,278 for the week.[50][49] It grossed another $165,038 from 6 other theatres in 6 key cities reported by Variety, placing it tenth at the US box office.[51] After seven months of release, it had grossed $5.3 million in the New York metropolitan area. Variety estimated that this represented 30% of the film's total compared to the normal 15% for the market, one of the few big-budget films to perform much better in New York.[52] Based on this estimate, the film had grossed around $17 million. By year end, Variety reported that it had earned theatrical rentals of $10,885,000, making it the eighth most successful film of the year.[53] Following the film's success at the Academy Awards in March 1973, it reached number one at the US box office with a gross of $1,880,000 for the week, a record for Allied Artists.[54][55] It remained number one for a second week.[56] By May 1973, the film had earned rentals of $16 million in the United States and Canada and $7 million in other countries and reported a profit of $4,904,000.[1] By the end of 1973, Variety had updated the film's rentals in the United States and Canada to $18,175,000.[57]

Variety claimed the film received the most "sugary" reviews of the year.[58] Roger Ebert gave a positive review in January 1972, saying: "This is no ordinary musical. Part of its success comes because it doesn't fall for the old clich that musicals have to make you happy. 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."[8]

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