
Cambridge University student Brian Roberts arrives in Berlin in 1931 to complete his German studies. Without much money, he plans on making a living teaching English while living in an inexpensive rooming house, where he befriends another of the tenants, American Sally Bowles. She is outwardly a flamboyant, perpetually happy person who works as a singer at the decadent Kit Kat Klub, a cabaret styled venue. Sally's outward façade is matched by that of the Klub, overseen by th... (Full plot summary below)
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Cambridge University student Brian Roberts arrives in Berlin in 1931 to complete his German studies. Without much money, he plans on making a living teaching English while living in an inexpensive rooming house, where he befriends another of the tenants, American Sally Bowles. She is outwardly a flamboyant, perpetually happy person who works as a singer at the decadent Kit Kat Klub, a cabaret styled venue. Sally's outward façade is matched by that of the Klub, overseen by the omnipresent Master of Ceremonies. Sally draws Brian into her world, and initially wants him to be one of her many lovers, until she learns that he is a homosexual, albeit a celibate one. Among their other friends are his students, the poor Fritz Wendel, who wants to be a gigolo to live a comfortable life, and the straight-laced and beautiful Natalia Landauer, a Jewish heiress. Fritz initially sees Natalia as his money ticket, but eventually falls for her. However Natalia is suspect of his motives and cannot overcome their religious differences. Also into Sally and Brian's life comes the wealthy Baron Maximilian von Heune, who has the same outlook on life as Sally, but who has the money to support it. Max is willing to lavish his new friends with gifts and his favors. Around them all is the Nazi uprising, to which they seem to pay little attention or care. But they ultimately learn that life in all its good and particularly bad continues to happen to them and around them.
Leave your thoughts about Cabaret.
| Common Sense MediaSierra FilucciInfluential '70s musical features sex and mature themes. |
| The New York Review of BooksWilfrid SheedThe Bowles cycle is a gruesomely instructive guide to our worst show biz conventions. |
| Alternate EndingTim BraytonA truly great movie adapted from truly great source material, but it achieves most of its greatness by thoroughly gutting and re-imagining that source. |
| Cinema-stacheRob Vaux"The Nazi musical," as star Liza Minnelli glibly put it, has felt pertinent for a long time. |
| GuardianPeter BradshawThis viscerally powerful, deliriously inspired musical stands the test of time, and then some. |
| BBC.comJamie RussellAll are guaranteed to leave Sally Bowles' words ringing in your ears as the credits roll: 'Divine decadence, darling!' |
| Mountain Xpress (Asheville, NC)Ken HankeSeems less fresh now, but still powerful. |
| Film Freak CentralWalter ChawIt's an all-time masterpiece, mercurial and timeless. I am changed every time I see it. |
| Aisle SeatMike McGranaghanCabaret is in some respects a typical feel-good musical, yet it's also so much deeper than that. |
| JWRS. James WeggLet's just say it: the best thing going in director Bob Fosse's tour de force is Joel Grey. As the Master of Ceremonies at the infamous Berlin Kit-Kat club, Grey steals every scene he's in and makes us hope for more. |