Johnny Simmons

I covered this a few months ago when I had my musical blogathon (REVIEW). Cabaret is my favourite musical. Liza Minelli, plus Joel Grey, plus an (unfortunately) un-singing Michael Crawford makes for a delightful bit of decadence. Of course, in reality, it’s Fosse who’s the star of the show directing every scene (musical and otherwise) to perfection – an Oscar well deserved. I’m all written out on Cabaret…I’ll just let the music play.

        

"Divine Decadence Darling"

I always say that I love Cabaret against my better judgement. Not one of Ebb & Kander’s stage shows is as saturated with classics like the original play and I always bemoan the fact that the film couldn’t make use of excellent standards like “Don’t Tell Mama” or “I Don’t Care Much”. Then, there’s the fact that they took a perfectly competent book and eviscerated it for reasons that are beyond my understanding. Yes, when I think about Cabaret it gets me as exasperated as much as it gets me cheerful. But, when I actually sit down to watch it, and the notes begin playing to usher in the beginning of “Wilkkomen” I’m already so far gone into a reverie that I immediately forget what it was that got me annoyed in the first place.

                

"Wilkkomen, Bienvenue, Welcome"

Cabaret takes place in Berlin during the onset of World War II and the actual Cabaret where we meet Sally Bowles and the Master of Ceremonies is as cathartic as can be. Sure, everything offered there is as synthetic as the dancing girls, but for a few moments it allows the Berliners to step outside of their horrid reality. In the wake of this calamity Cliff, a would-be writer, arrives at the Cabaret falling in love with Sally Bowles – our sociable heroine. But in this way, I suppose Cabaret is not so much a story about what happens as it is a story about how it happens. Fosse has always has his reputation for being an especially stylistic man, and Cabaret represents the zenith of his talents. For, in many ways, Cabaret is a bit like an allegory. We’re transported by the bawdy music and scintillating dances so that by the time tragedy is at hand we’re surprised, even though it’s been sneaking up on us for the entire film. It’s in this way that I (almost) forgive the excision of so many great numbers, and I suppose it’s important that York doesn’t do any singing. Sure, it’s been argued, he’s not really a lead in the film – and he isn’t in the typical sense. But it’s important that what we see of the Cabaret begins with his entrance and ends with his departure. He doesn’t sing, because we don’t either. He’s the only lifeline we have with this corrupted Berlin. More importantly, he can’t cope in a world so egregiously corrupted – neither can we.

               

"Tomorrow Belongs To Me"

But then, how can one call a sensation like Minelli’s Sally Bowles corrupted? It’s a perfect combination of star and character and Liza’s Sally is a force to be reckoned with, even if she does sing too well for the novice that Sally should be. Few musical moments are as heart wrenching as when she takes to the stage to sing “Maybe This Time” – a number that for some reason isn’t as oft remembered as it should be. Joel Grey’s androgynous Master of Ceremonies is more obviously perverse. The man has a talent for showmanship, and I’m still surprised that Oscar decided to reward him in the face of the more typical lineup. It’s a job well done on their part. I suppose in some ways, Fosse really is the star of the show. His direction is flawless, and even though I’ll forever hold that grudge for the shafting of this flick in the Best Picture category, at least they rightfully recognised Fosse for his directing. As we prepare for Liza’s final number I’m never sure if we should be praising her or Fosse. We notice his eerie theatrics as the screen is clouded and we notice how Liza manages to reach to the flawed core in the eponymous number. For us to understand Cabaret we have to understand the title number first. It’s not a song of irrepressible joy, but a resignation to a life of unfulfilling debauchery in the face of real pain. She realises the desperation and frenzy in the piece and as she sings those final few lines you can’t help but pity this ridiculous creature. They're all looking forward to tomorrow while simulatenously afraid to face it...and who can blame them?

          

No matter how much I wish Cabaret had done differently, I realise always that I can’t argue that what it does – because that is done flawlessly. I can’t think of any musical piece that manages to impress both dramatically and musically as this. It’s a perfect combination of skill on all counts and it cruises dangerously close to perfection at #14 on my list of favourites.

I’m still patiently waiting for Nine to come out. The recent news that many of the songs have been cut has been somewhat disconcerting, but I have faith in Rob Marshall, and way more faith in Anthony Minghella, so I’m holding out. Meanwhile, I’m thinking about musicals when musicals were the thing and have such compiled a list of my nine favourite musical scenes. Don’t look for anything recent, because it won’t be here.

#9 – The Man That Got Away from A Star is Born [1954]
I absolutely love this song. Alex in Movieland was saying the other that he’s not very impressed with Judy’s acting in this role, sensing a sort of coldness from her. I’m not that harsh but it’s not my favourite Judy acting moment, but this song is still really good and this wonderfully directed scene from George Cukor is beautifully done.

#8 – I Have Confidence from The Sound of Music [1965]
It’s a tough choice for the best song from this musical and my favourite is probably the hauntingly beautiful Something Good. But I love this particular scene. Maria’s just found out that she’s leaving the convent, but wonders what time of a governess she’ll be. I know others will remember 'My Favourite Things' and 'Do-Re-Mi', but this remains as the iconic scene from The Sound of Music for me [just barely edging out 'Sixteen Going on Seventeen'].

#7 – Cool from West Side Story [1961]
Aah. This is another tune I’m biased towards. This scene, though, is just really well directed. I was always more a fan of the Jets than the Sharks [just as the preferred the Montagues to the Capulets]; and it was unfortunate that the Jets’ women couldn’t have larger roles. This number is really good though, and I like the wittiness of having Ice sing about staying Cool. I’m tempted to say that this is the best stand alone song from the movie…

# 6 – Cabaret from Cabaret [1972]
Mien Herr is the best performance number for Liza and Maybe This Time is the most poignant, but this is the most iconic. This scene is just well done. Every nuance every line, every shot… Bob Fosse really deserved this Oscar for direction. The scene just plays wonderfully.

#5 – Feed the Birds from Mary Poppins [1964]

I remember this song disconcerted me as a child. This is the best song of the film, hands down. Julie Andrews is always great when she gets emotive. And it’s more special too because of Jane Darwell’s cameo as The Bird Lady. It’s nicely envisioned with the snow globe as the template turning it into a most magical and poignant experience.

#4 – The Yellow Brick Road from The Wizard of Oz [1939]
This is definitely the song that sticks with you. As the two [then three, then four] friends travel down this famous road with that little black down, this recitative continues. From the slightly idiotic dancing, to the glint of the ruby slippers on the yellow road, the splash of Technicolor… it’s all just lovely.

#3 – Put On Your Sunday Clothes from Hello, Dolly! [1969]

Hello, Dolly! Is too often forgotten when we remember musicals of the 1960/1970 period. If you haven’t seen it, go and get it now. The colour, the movement, the dancing it all seems really busy, but it all still works. Barbra Streisand is at her best playing the loquacious Dolly Levi and you can just see the fun she’s having. It’s a feast for the eyes and ears.

#2 – Tonight [Reprise] from West Side Story [1961]
Sung just before the fateful rumble this is done by the ensemble. There is not a false moment in this number. The dark light shrouding Anita is suggestive not only of a romantic encounter but also seem to foreshadow the imminent deaths. The shades of red is mesmerising, the cutting from the Jets to the Sharks and back again. The audience is on their toes. And the song ain’t too bad either.

#1 – Willkommen from Cabaret [1972]

What’s my number one? It’s Fosse again. Joel Grey is delightful as the androgynous Emcee and I can’t help but love the covert sexual references to the guys and the girls. I dare you not to tap your feet along. This song is just really catchy tune. A perfect opening number…actually, it’s a perfect number period.

This list, like many that I do, is arbitrary somewhat though. So, tell me what I missed. What I overvalued. What you’d glorify. Which musical sequences get your feet tapping?