Cabaret (1972) - Drama, Musical

Hohum Score



A female girlie club entertainer in Weimar Republic era Berlin romances two men while the Nazi Party rises to power around them.

IMDB: 7.8
Director: Bob Fosse
Stars: Liza Minnelli, Michael York
Length: 124 Minutes
PG Rating: PG
Reviews: 14 out of 192 found boring (7.29%)

One-line Reviews (99)

Even on the awful print I saw the lighting is incredible and the editing exciting, and Minelli's over-the-top musical performance beats doubts into submission faster than a bunch of Brown Shirts after a night of elbow-bending.

Armed with a formidable, intuitive style, a bold script, dazzling camera work technique, and an explicit eye for detail, Fosse brings fascinating life to the seamy ambiance and tainted attitudes of a pre-Nazi Germany.

It's original, moving, entertaining and beautifully cast, production designed and shot.

The music and choreography for the cabaret performances lies somewhere between banal and unpleasantly corny.

She is utterly tiresome as Sally Bowles, a fatal flaw in any film when the leading actress is a washout.

The score is serviceable certainly and Kander and Ebb have contrived to create words and music redolent of the tinny harshness that characterized Weill and Brecht who WERE actually writing words and music at the time that Cabaret is set.

Most of us fell asleep an hour into the movie.

Never aware of it as a contrived, artificial Hollywood product, I was completely absorbed, totally immersed in a remarkably profound experience.

Liza Minnelli as Sally Bowles is riveting and gives the musical performance of her career.

It is way too long and drawn out.

Great performing by Minnelli,but little other enjoyable aspects.

She sings the title song in a number of stunning effectiveness...

In its structure and how, at times, it is extremely self-evident, even banal in its metaphorical nature, if I may say so.

While I think the film was enjoyable and worth seeing, it is far from the classic that time seems to have painted it as.

It was so boring!

The stories though between the songs seem awfully trite.

Emerging gradually from the chorus line in the first number, she quickly becomes absolutely riveting.

The subplot about the meet-cute couple played by Marissa Berenson and Fritz Wepner is pretty bland, and the movie's attempts at seriousness vis a vis the Nazi threat are ham-fisted and obvious.

However, Joel Grey as the Master of Ceremonies was just as entertaining, perhaps the most so as his role provided dramatic and musical unity to the film.

his character amazes me because it embodies all the movie is: he is sick and disturbing and yet very entertaining.

It's movielike where should be life, formulaic in its dramatic entanglements, for instance the trio of lovers with the rich baron, the unwanted pregnancy, the German gigolo who falls for a young Jew heiress.

Sally always looks and sounds like she's in deep, desperate denial about her life and the state of Berlin, and constantly seems on the edge of a nervous breakdown.

Despite antisemitism running amok, Liza is oblivious to it all--living her hollow and self-indulgent life.

''Cabaret' is an exciting place for music...

), it was fascinating.

Nevertheless, it is entertaining, and worth seeing for Minnelli and the musical parts.

'Cabaret' uses music in an exciting new way...

The best song, however, is the rousing 'Tomorrow Belongs To Me', which allows the Nazi supporters to join in chorus to proclaim their idea of a new world.

The subtle give-and-take among the three makes for engaging drama.

Entertaining .

I know many people love this movie but I was bored silly after the first hour or so.

) conveys feelings and a message that go far beyond the pure storyline (even though it is also a very entertaining film even for the low-brow viewer).

The two German actors and the beautiful though dull Marisa Berenson.

While not my favourite of the musical genre, it is a hugely enjoyable film.

Long, inane, boring dialog that goes on forever.

Some of the effects are even more stunning when seen live on stage.

Under Bob Fosse's direction the cabaret numbers are all exciting.

The music is very exciting and enthralling much like the reboot of "Chicago".

Fritz and Natalia, the two characters that I did enjoy and who had a compelling story that was intimately bound up with rising Nazism, were largely ignored.

Even after 36 years, it hasn't aged, and is as shocking and entertaining as ever.

Then, inserting in the empty spaces episodes of every day lives of characters, combined with pertinent glimpses of the social and political realities in pre-Nazi Germany, as he did for ex.

A nice musical that could have benefited from slightly better source material but that transit to the screen effectively and also deals with the slow and innocuous rise of the Nazi in the background.

It was boring.

is a classic masterpiece of filmed musical theater, Cabaret is a travesty of an intriguing novel turned into a very shallow piece of Broadway glitz.

Of course, Judy´s daughter steals the show with the breathtaking performance of the funny, crazy and childish Sally Bowes.


Entertaining, thought-provoking, funny and beautiful.

Likewise Grey deserved his as he is great fun and very enjoyable in the film's best scenes.

A dark and fascinating film that shows characters shuffling around, increasingly desperately, in their personal lives while the shadow of Nazism hovers over them.

" the love story between sally and bryan, while entertaining, seemed to me like only a small supporting plot.

All things considered, CABARET is a stunning accomplishment that still holds relevance in this day and age of disillusionment with the political establishment.

While his character was enjoyable to watch, it was nothing particularly fantastic.

The inter-cut scene between the stage and the beating by the Nazi thugs is truly compelling.

Fine performances by Liza Minnelli, Joel Grey and Michael York, stylish direction and sexy choreography by Bob Fosse, and a classic musical score by John Kander and Fred Ebb (orchestrated by Ralph Burns) made "Cabaret" an exciting, entertaining and (most important) substantial musical.

intriguing adult musical .

Michael York is incredibly boring and the same could be said for the rest of the supporting cast.

Fans of the movie should definitely see the play - Broadway's Susan Egan singing the title song is the most intense theatrical experience I've ever witnessed, not to take anything away from Liza.

A powerful, tour-De-force show for Liza Minelli and a fascinating commentary on the Germany of the Great Depression.

Rather, a sleazy night club becomes a place where satirical comment on the lives and problems of these characters is made in striking, entertaining, and often in ferocious dances and songs...

Luckily the musical numbers hold it all together and keep the film interesting and enjoyable even if I must admit to be left feeling disappointed by how uninvolving the story and characters were.

This unexpected number seems to have embarrassed many viewers.

Against a background of Nazi propaganda there are the continual rumblings of anti-Jewish sentiments in 1931 Berlin and a nervous anticipation of events likely to follow.

In addition to riveting dance numbers and filming everything with medium shots or close-ups which give great focus on the eyes, make-up, and lips of characters, director Bob Fosse stages tableau shots which give us snapshots of the time: the beaten Kit-Kat club owner, bloodied by Nazi boots; a Russian corpse, presumably communist, strewn across a busy street with people looking in horror; an older German man who remains sitting while everyone around him stands in a nationalistic fever singing the song "Tomorrow Belongs To Me," in a moment of ominous foreshadowing.

Albeit entertaining,even exhilarating, the new musical never lost sight of the forces that would lead pre-World War 2 Germany to the brink of social and political disaster.

Unfortunately, the end result is that this film version of Cabaret plays like a directionless pastiche of mostly mundane events.

Can you say boring!?.

The utter banality of the cabaret as well as Liza's personal life are a deliberate counter-point to the seriousness of the day.

It really his coming of age story and we can see that in the end as he gets on the train as a changed man.

Miss Liza Minnelli - a true singing siren with a powerful and beautiful voice - stars in this fun, entertaining movie about starlette-wanna-be Sally Bowles and her fantastic career as a Cabaret singer and performer at the Kit Kat Club!

Cabaret, however, managed to balance excellent choreography (Fosse, of course)and entertaining songs with poignant acting, and an overall sense of the pre-Nazi German decadence that made me feel for all the characters, as we know their fates.

It tells how horrible Nazi was, better than the Nazi war-crime-film cliche does.

Liza Minelli is stunning and I would recommend it to anyone...

The story is intriguing and genius, the casting perfect, the music legendary, the wardrobe a ten, the sets...

York vacillates between confusion, woodenness and overacting, occasionally finding a balanced middle ground that's enjoyable, but it's like waiting for a slow-moving pendulum to reach its nadir.

"Money" and "Mien Herr" are incredible, and Bob Fosse's outre choreography is stunning.

Even though it's a wonderful film, it's still a bit strange but that's just fascinating.

so many recent romances skip right over the obvious (when people go through the hassle of being in love with one another, it's usually because they are desperately drawn to each other as individuals)and cut right to the same boring generic sex scene.

I was familiar with Unsworth's work from "Superman: The Movie" and was amazed with his ability to make Liza look so breathtaking here.

Fosse's way of filming musical numbers is fascinating, using quick edits to capture movement from multiple angles almost simultaneously.

Berlin was all the same an incredibly exciting place to be; do bright young Americans still come to Europe?

One must also applaud Bob Fosse for his direction, for without him, these dark scene filmed with Grey would have just been as bland as the story.

'Cabaret' is the first musical to exploit the notion that life is fascinating because it is ambiguous...

I would put it in there with the most entertaining movies I've seen.

"Cabaret" sets the tone as one of the best musicals ever adapted to the screen back in the 1970's and is still one of the most exciting heart-pulsing films of all time.

The story is rather thin and intelligently simplistic but, to my mind, the most intriguing thing is how this story line reflects the gloomy morale of the Nazis.

Beautiful,energetic and visually stunning,a night at the Kit Kat Club's Cabaret is something you won't forget in a hurry.

Bob Fosse uses his dancer's experience to good effect in the cabaret sequences and Kander and Ebb's musical commentary is tart and enjoyable.


"Cabaret" boasted big songs, big ideas, and big actors … yet it felt long, dull, and convoluted to say the least.

The musical and theatrical numbers are great, the initial plot is intriguing and the movie seems propelled by a bouncy vibe.

I also enjoyed Marisa Berenson at her most beautiful, anticipating her stunning portrayal a couple of years later in Barry Lyndon.

I fell asleep for a good portion of this flick, so maybe I did miss the good part.

It makes me remember Tomas in the unbearable lightness of being.

I have a habit of beginning my reviews of musicals with the caveat that I don't generally go out of my way to watch them, but once I do I generally find them entertaining.

It's entertaining and stylish despite the fact though it maybe not quite as serious as it wants to be.

Joel Grey, as the so called "Master of Ceremonies" and won an Oscar (against three fellows from THE GODFATHER), serves only as the performer in the film, no clear attachment with the plot, his musical set pieces are burlesque, risqué but entertaining to the bone, with a strenuous mimicry of German accent, it is a hard-earned honor, although I don't understand how Al Pacino could lose at any rate.

Glamorous and evocative cinematography by Geoffrey Unsworth .

The "Tomorrow Belongs To Me" number is roundly described as stunning and chilling, and after almost 30 years, remains so.

Liza plays a fascinating character--a perfect film example of a borderline personality.