Cabaret

Satirical on every level, Bob Fosse's 1972 film Cabaret redefines the previously accepted genre of the musical. Using the songs and routines as cunning tools of social commentary the musical numbers both predict and interpret the world of Berlin in 1931.

The opening routine, 'Wilkommen', is a powerful introduction to the opposing worlds of the protagonists Brian and Sally and also indicates the significance all songs in the Cabaret will be instilled with. As the camera moves from the distorted mirror to the grotesquely masked face of the Master of Ceremonies (Joel Grey) who claims, 'I am your host, wilkommen', the need to look below the 'beautiful' surface of both the cabaret and Berlin is established. As the opening progresses the MC welcomes in three languages, English, French and German, communicating from the outset that the satirical and political messages of the film are universal, but often in need of personal interpretation. It is obvious the the MC as a good host will meet all our needs and it is vital to note that it is with him that we establish our initial identification; the relationship with Brian (Michael York) is secondary even though he is the protagonist. Like the audience, the MC is an observer who seeks to critique the world of Berlin.

The initial establishment of the female protagonist, Sally Bowles (Liza Minnelli), is also undertaken in the opening routine and the character is far from distinctive as she stands on the stage with 'the cabaret girls'. Indeed, from the beginning Sally is a metaphor for the indistinctive, hedonistic masses of people who long for the glory they observe in others and claim should be theirs at any cost.

Despite her claims that she is driven by 'divine decadence', Sally uses her costumes and make-up to obscure her inner desires. When she goes to meet her father she has 'a nun's hands' and it is as this unmasked and vulnerable woman that she and Brian become lovers. In the song 'Maybe this time', which is intercut with footage of Brian and Sally's relationship, the lyrics and cinematic structure are used to negatively answer the hopeful plea 'Maybe this time I'll win'. As Sally stands on the stage of a near deserted Kit Kat Klub she sings passionately, fully clothed and for the only time not exaggerating her sexuality. Although she claims that she is a 'lady peaceful, lady happy - that's what i long to be' the bright lights show this 'normal' Sally as attractive but not extraordinary, something she will ultimately never tolerate.

Likewise the intercuts of footage also reveal in Sally and Brian a relationship which will never last. As their eyes meet across the room, Fosse deliberately pans back to show the extreme distance between the characters. And although their relationship is now sexual, Brian's echo of Sally's feminine self concept 'doesn't my body drive you wild with desire?' reflects a man as tentative about his sexuality as Sally is about anonymous domesticity.

The only musical routine set outside the Kit Kat Klub, 'Tomorrow belongs to me', is symbolically the one which reveals most clearly the impending political realities for Germany. Set in a pastoral beer garden with men, women and children, once again only the surface is 'beautiful'. Brian's possession of the previously disputed cigarette case subtly confirms that Max's 'duty to corrupt' has been fulfilled in their homosexual relationship. To strengthen this social commentary on the corruption of Germany, an acutely Aryan member of the Hitler youth comes into focus. He begins a folk-like song with a collage of picturesque images of family and nature, yet as the song progresses the music changes to a military march which calls for people to 'arise, arise'; all images of natue become excluded and fanatic close-ups replace the serenity. As the singer changes the tone of the song, and symbolically the German political culture, he is shown to lead the majority. Yet, the restrained vision of an elderly man who will not stand poignantly reveals, as do Natalia and Fritz, the dangers for many individuals which lie ahead under a facist regime - sadly - tomorrow does not belong to them all.

Fosse specifically leaves the title number of the film for the finale. In this way he is able to comment on how the characters and Berilin have changed since the opening 'Wilkommen'. In Sally's song is articulated her limited and self-focused view of the world, where she desires to be like ' the happiest corpse I've ever seen'. Although the cabaret world is false and often grotesque, at least she is one of its central focuses. She would rather shine momentarily, as she has demonstrated preciously in her infidelity with Max and her decision to have an abortion. Sally 'loves a cabaret' for all it gives her, yet as the audience we have come to question its values by the conclusion.

As the camera finds the Master of Ceremonies, our host bids farewell again in three languages. And as the camera pans once again across the distorted mirror we are left with a final image of a swastika which is distorted and grotesque - just like the Berlin Fosse reveals in Cabaret