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 196 found boring (7.14%)

One-line Reviews (98)

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

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.

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.

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

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.

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

Great performing by Minnelli,but little other enjoyable aspects.

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

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

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.

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

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.

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

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

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

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.

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

It was boring.

Most of us fell asleep an hour into the movie.

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

Can you say boring!?.

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

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.

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

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

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.

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

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

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

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.

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


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.

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

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

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

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.

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.

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!

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

"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.

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

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

It is way too long and drawn out.

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.

Glamorous and evocative cinematography by Geoffrey Unsworth .

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.

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

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

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

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.

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.

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

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

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.

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

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.

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.

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.

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

) 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).

intriguing adult musical .

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.

It was so boring!

(Flash Review)In pre-war Germany, cabaret singers and wealthy playboy's are so focused on having fun and games and chasing thick wallets that they are tuning out the NAZI slow rise and influence in Germany.

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.

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

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

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

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

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.

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

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

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

Entertaining .

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...

This unexpected number seems to have embarrassed many viewers.

), it was fascinating.

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

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.

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

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

The stories though between the songs seem awfully trite.


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

Long, inane, boring dialog that goes on forever.

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

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

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

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

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.

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

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.

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

Entertaining, thought-provoking, funny and beautiful.

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

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

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