Muristek
Liza Minnelli gives a towering performance in a loose adaptation of the stage musical that broaches tough subject matter with deft ease
Cabaret opens with a Nazi getting kicked out of the Kit Kat Klub, a Berlin nightspot catering to the prurient whims of a well-heeled audience in 1931. It ends with the entire club populated by Nazis, as if it were under occupation. In between, the show goes on with minor changes to accommodate a different clientele, and the country, too, slips inexorably into darkness, engulfing characters who are powerless to stop it, even if they’re inclined to do so. It is an utterly bone-chilling movie musical, yet seductive, witty and delightful – an unbearable lightness of being.
The contradictory tensions of Cabaret are managed with such deftness by director Bob Fosse that it remains, 50 years later, a rare film that feels like only one person could have pulled it off. How people continue to live their lives in the face of encroaching authoritarianism and violence is an endlessly renewable and relevant subject for movies, but Fosse choreographs the foreground and background of historic change with as much care as he brings to the song-and-dance at the Kit Kat Klub. “Leave your troubles outside,” beckons Joel Grey’s Master of Ceremonies to the audience in the opening number. Easier said than done.
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