Cabaret Pt 3: 'From cradle to tomb...'

Occasionally Team Experience will take a classic movie and pass it around for a deep dive. This week Cabaret (1972) which is currently streaming on Filmstruck. But if you're in NYC don't miss your chance to see it in an actual movie theater at the newly renovated gorgeous Quad Cinema.

In Part One, Nathaniel investigated the way the musical's major players are introduced at the cliff end of the Weimar Era in Germany.

In Part Two, Dancin' Dan watched as two couples (Brian & Sally, Fritz & Natalia) fell in love and lust and into "money!". It makes the world go round. When we left off, Brian and Sally's new lover, a rich baron, has taken Brian out to lunch when a song interrupts their not-so-innocent idyll. - Editor

Part 3 by Chris Feil

1:18:16 - Out of nowhere, we hear a tenor breaking into the nationalist anthem “Tomorrow Belongs to Me”. We pan from his angelic face to see his Nazi uniform, realizing we've fallen into a musical number that is about to be a harsh reality in more ways than one.

It matters that “Tomorrow Belongs to Me” is a very different kind of song than what we have been given thus far, and the only number outside of the cabaret. Entirely without nuance, a straight-shooting melody that purposefully tries to pull you into its grip as we watch in horror while its grim subtext shows itself...

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Cabaret Pt 2: 'It makes the world go 'round'

Occasionally Team Experience will take a classic movie and pass it around for a deep dive. Cabaret is showing onscreen this weekend at The Quad. Don't miss your chance to see it in an actual movie theater if you're in NYC.

In Part One of our tag team look at Cabaret (1972 being our 'year of the month'), Nathaniel investigated the way director/choreographer Bob Fosse introduced the musical's three major players at the cliff end of the Weimar Era in Germany. He also touched on Liza Minnelli's physical expressiveness in creating one of the most memorable protagonists of all time. When we left off, Fritz and Sally had just forced themselves into their friend Brian's English lessons for a Jewish heiress. Here's Dancin' Dan with Part Two of our Cabaret roundelay - Editor

Part 2 by Dancin' Dan

34:45 "Bobby! A Landauer. In my house!" I love the little glimpses we get of the other residents of the boarding house. In the stage show, Fräulein Schneider is much more fleshed out and has some truly lovely moments. I can't say I miss it entirely in this film, but I still love seeing them.

35:00 Meine damen und herren, the most awkward tea party EVER. There are so many great moments in this scene, from Fritz pulling his jacket down to hide his fraying shirtsleeves to Marissa Berenson's accidental double entendres as Natalia ("This was a cold of the bosom, not of the nose." "Ze plegma? Zat comes in der tubes?"), which are even more cringe-worthy since she is so beautiful and nearly regal in her bearing. And the sass she gives Brian when he can't explain the spelling of "phlegm" is delightful!

36:30 Sally is VERY unimpressed with Fritz's overeager laughter at Natalia's jokes...

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Cabaret Pt 1: 'You have to understand the way I am, mein herr.'

Three-Part Mini-Series
Occasionally we'll take a movie and baton pass it around the team and really dive in. If you missed past installments we've gone long and deep on Rebecca (1940), Who's Afraid of Virginia Woolf (1966),  Rosemary's Baby (1968), Silence of the Lambs (1991), Thelma & Louise (1991), and A League of Their Own (1992). Now... Bob Fosse's Cabaret (1972) which is showing this weekend at the Quad Cinema in NYC - Editor

Team Experience is proud to present a three-part retrospective deep dive into Bob Fosse's Cabaret (1972), winner of 8 Oscars, and one of the most singular films ever made. Though it takes place on a stage it's entirely cinematic in a way many film musicals --even the ones that don't involve actual stages -- ever even think to be.

Part 1 by Nathaniel R

00:01 Cabaret begins in total silence with white text credits on a black screen. Countless movies begin this way, but not musicals. There is no bright and colorful title card, no overture to prep you for its famous song score. Cabaret takes place at the dead end of the Weimar era in Germany, and emerged onscreen at the dead end of the musical genre's dominance of movie culture. This is not lost on the genius dancer/choreographer turned film director Bob Fosse, who throws us immediately into a dark and dingy underworld... as if we've already eaten pomegranate seeds and sealed our fate...

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Beauty Break: Happy Mother's Day!

Michelle Pfeiffer with her daughter Claudia Rose early onHappy Mothers Day to any of our readers who are mothers and Happy Mother's Day to all of your mothers, too. Herewith some of our favorite actresses with their first born...

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Months of Meryl: Postcards from the Edge (1990)

John and Matthew are watching every single live-action film starring Meryl Streep. 

 

 #17 —Suzanne Vale, a recovering drug addict and B-list actress of royal Hollywood pedigree.

MATTHEW: It has always been impossible to escape the metatextual associations of Carrie Fisher’s Postcards from the Edge, which really means it has always been impossible to escape the shared history of two artists: Fisher and her famous mother, Debbie Reynolds, a relationship that is the very bedrock of Fisher’s 1987 novel and Mike Nichols’ subsequent screen adaptation. To watch the latter now, in a world without Fisher or Reynolds, is an experience of unavoidable and indescribable bittersweetness. It helps, however, that Fisher confronted even the most harrowing episodes of her lifelong addiction with a sly, battle-ready smirk and a tart tongue, which always ensured that she — and she alone — would get the last word. On the screen, Postcards from the Edge remains a salty, joyous, yet tough-minded immersion within the rocky recovery of its Fisher-like heroine, Suzanne Vale, and a prickly heartwarmer that continually confuses our inclinations towards laughter or tears.

This is largely because of Fisher, whose hysterical one-liners are an art form unto themselves. Consider, for a moment, that such gems as “Do you always talk in bumper stickers?” and “Instant gratification takes too long” and “What am I supposed to do, go to a halfway house for wayward SAG actors?” are all spoken within the first 20 minutes of the movie, and there are plenty more where those came from...

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