There are plenty of musicals that stand out as among the upper tier of the genre, but few are as easily recognized as both defining and reinventing it at the same time. Cabaret, winner of 8 Oscars, and only missing Best Picture on the technicality of releasing in 1972, pushed the boundaries of the possible abilities and sensibilities available to a musical feature film, and the effects of the new stage it built can be felt all the way to last year’s Les Miserables, which brings forward the surprising power inherent in a showcase of song that is not only not happy, but delivers a variety of emotion based on a solid exposition of the singer’s circumstance. The following of Jean Valjean’s musical efforts closely resembles the now iconic shift in the performance of Cabaret‘s theme song as we work our way to the end of the film.
The film’s themes and motifs could well be analyzed endlessly (something you can’t legitimately say about many musicals actually), but before even peeling much away, the story of the clash of belief systems is developed so solidly, and relayed so honestly and realistically that there is a certain sense in which many may think of this film as being a musical only accidentally. It is somehow removed from its own genre, both artificially, in the sense that it takes the uncommon route of only providing its musicality when and where such would actually exist, and stylistically, in that it focuses on detailing its story by way of the complexity of its characters.
Representative of not only individuals and societal viewpoints, but also clashes of psyche (the master of ceremonies, for example, self-delusionally clamps onto happiness at any expense), our “heroes” manage a collective coup of acting that, almost unbelievably, brings the overall to fruition, creating not only a story about these people specifically, these people symbolically, and ultimately a kind of surreal investigation of one mind.
All that said, the film itself should need no sell at this point, except to say that it is remarkable how well this film holds up today (and perhaps, how amazingly long ago ’72 seems when I’m forced to confront it). While the flood of all films Nazi may have watered down the collective interest in such things, the film translates well to modern viewing precisely because the aim is not quite so specifically on Nazi vs. anything, but on the meeting of moral views and the related adherence to a kind of nihilism on Sally’s part that is responsible for more of the conflict than whatever specific outside force she butts up against.
More important is the release itself, which is amazing. In a market flooded with what seems like dozens of comparable efforts every month, something that stands out to this degree only comes along once in a few years.
I’ve heard that the video quality has actually come under a certain amount of fire, but any negatives aimed at this restoration effort (the true details of which elude me completely) are misguided. The movie looks brilliant, and in some sense that is hard to define, analog, using that as the highest of superlatives. For the technically-minded, the video has virtually no artifacts, or other minute flaws that often detract from the quality of similar titles.
More importantly, the film looks fresh and vibrant, with colors detailed just as they should be. The soft hues melding with the darks, especially in several scenes inside the cabaret, are wonderful. This is a case, I think, which makes it such that any effort to make the video quality “better” would necessitate making it worse. We would be in the realm there of modifying the reality of the thing in order to… I don’t know what, sharpen things to the point of cartoonishness, I suspect.
The audio is equally clear, though it doesn’t stand out quite as much as the video quality. The songs come through very well, and given the right system, it is showcased well, and it’s impressive. It’s just that (oddly, as this is a musical) the music and singing take a backseat here. In fact, for those that pay attention to such things, this may be a truly curious case, because it is the quality of dialog that is probably more noticeable. I would expect a few distortions or other sound “errors” to pop up during some softer conversational moments, and wouldn’t even take much away for them, but I didn’t notice any.
Perhaps best, the special features are real winners. There are only three things that are truly new to this release, and they may not add quite as much value as some may be looking for, but the whole package adds up. Usually, an update like this may be tough for those who happen to have the previous release, given that they have the lion’s share of the bonus features, but the total package here makes this one an easy choice.
I’m not overly sold, generally, on the “digi book” packaging that is intended to theoretically add value, especially since many of them seem to be put together in a sloppy rush, on the theory that shiny sells (which it does). This one is worthwhile though, full of interesting bios of the cast, and a host of production notes. Still, it’s the sort of “bonus” that is worth just about as much as you expect it to be.
The new featurette – Cabaret: The Musical That Changed Musicals, though shorter than you’d hope for (about 30 minutes), is a solid retrospective effort. Largely the work of Fosse historians, the featurette details his career, but also includes new interviews with Minelli and York, as well as a variety of famous fans. It all comes together surprisingly well for what is ultimately a celebratory showpiece. Getting these efforts to balance something fans want to see with what the production team wants to say is always tricky, but this one works well.
Finally, for new features, the film includes a commentary track by Stephen Tropiano, a Fosse biographer. If there were ever a film to benefit from a good commentary track, this is it, and Tropiano provides an interesting and entertaining enough account of the film’s efforts and production. He is also clearly someone who watches his fair share of commentaries, because he avoids the scourge that is wandering into long tangents. Often, one topic will get covered so long that we find ourselves far removed in the film, and Tropiano keeps on track with smaller bites well. You’ll learn a great deal about the film here, and you’ll be glad for what he’s covered with you.
I wouldn’t normally add much to a release based on previously available special features, but as I’ve said, it works here. You get a lot of additional content, and even if they aren’t new to the release, the entire package is overwhelming already. This is not one to be missed.
Below check out some more info on the release, a few clips, and enter to win your very own copy!
Cabaret, Bob Fosse’s ground-breaking Oscar®-winning musical drama starring Liza Minnelli (Arthur, The Sterile Cuckoo), Michael York (the Austin Powers films), Joel Grey (TV’s “Oz”), Helmut Griem, and Marisa Berenson (I am Love), celebrates its 40th anniversary with a Blu-ray debut on February 5, 2013. Remastered for the first time in over 20 years, Cabaret is presented in its original aspect ratio (16 x 9 format).
Winner of eight Academy Awards®, including Director (Fosse), Actress (Minnelli), and Supporting Actor (Grey), the film will be offered in a premium Blu-ray Book format ($27.98 SRP), which contains 40 pages of insightful photos and text. A new documentary, “Cabaret: The Musical That Changed Musicals” will be featured, along with vintage documentaries “Cabaret: A Legend in the Making,” “The Recreation of an Era,” a multi-part memory gallery and more. A DVD version will also be available ($14.97 SRP).
Cabaret was adapted from the Tony® -winning stage production, which was in turn inspired by Christopher Isherwood’s Berlin Stories and the play and movie I Am a Camera. This remarkable musical turns the pre-war Berlin of 1931 into a sexually charged center of decadence.
Liza Minnelli gives a bravura performance as nightclub entertainer Sally Bowles, and Joel Grey is the master of ceremonies at the nightclub, also acting as the storyteller for the audience, exposing the seediness of the cabaret world. The superb songwriting team of Kander and Ebb contributes a string of memorable songs that not only entertain but also provide social commentary on the events of the time. Under the helm of director-choreographer Bob Fosse (All that Jazz), Cabaret becomes both a devastating drama and top-rate entertainment, and the result is one of the most memorable and meaningful screen musicals ever made.
In 1995, Cabaret was selected by the Library of Congress for preservation in the United States National Film Registry as being deemed “culturally, historically, or aesthetically significant”.
In 2006, Cabaret ranked #5 on the American Film Institute’s list of best musicals.
Synopsis:
Flamboyant and eccentric American entertainer Sally Bowles (Minnelli) sings in Berlin’s decadent Kit Kat Club, even as Nazism rises in Germany in 1931. She falls in love with a British language teacher (York) – whom she shares with a homosexual German baron (Griem). But Sally’s insular, carefree, tolerant and fragile cabaret world is about to be crushed under the boot of the Nazis as Berlin becomes a trap from which Sally’s German friends will not escape.
Special Features:
- Commentary by Stephen Tropiano
- Cabaret: The Musical That Changed Musicals New Featurette!
- Cabaret: A Legend in the Making
- The Recreation of an Era
- Marisa’s Close-up Kit Kat Klub Memory Gallery: Liza Minnelli Remembers…
- Sally’s Look Kit Kat Klub Memory Gallery: Liza Minnelli Remembers…
- Observing the Master Kit Kat Klub Memory Gallery: Liza Minnelli Remembers…
- Challenges Kit Kat Klub Memory Gallery: Joel Grey Reminisces…
- Collective Memory Kit Kat Klub Memory Gallery: Joel Grey Reminisces…
- Strange Inspiration Kit Kat Klub Memory Gallery: Joel Grey Reminisces…
- A Called Bluff Kit Kat Klub Memory Gallery: Michael York Remembers…
- Risk Taking Kit Kat Klub Memory Gallery: Michael York Remembers…
- Rush(es) Hour Kit Kat Klub Memory Gallery: Michael York Remembers…
- A Happy Accident Kit Kat Klub Memory Gallery: Michael York Remembers…
- Rock ‘N’ Roll Editing Kit Kat Klub Memory Gallery: Martin Baum Reminisces…
- Isherwood’s Surprise Reaction Kit Kat Klub Memory Gallery: Martin Baum Reminisces…
- Smithsonian Honor Kit Kat Klub Memory Gallery: Martin Baum Reminisces…
- Tomorrow Belongs to Me Kit Kat Klub Memory Gallery: Cy Feuer Remembers…
- Taking on ‘The Godfather Kit Kat Klub Memory Gallery: Emanuel L.Wolf Reminisces…
- Timeless Kit Kat Klub Memory Gallery: Emanuel L. Wolf Reminisces…
- Playing ‘What If?’ Kit Kat Klub Memory Gallery; John Kander Remembers…
- Almost a Nervous Breakdown Kit Kat Klub Memory Gallery: John Kander Remembers…
- Sneaking a Peek Kit Kat Klub Memory Gallery: John Kander Remembers…
- Play vs. Book Kit Kat Klub Memory Gallery: Jay Presson Allen Reminisces…
- Recruiting Hugh Wheeler Kit Kat Klub Memory Gallery: Jay Presson Allen Reminisces…
- Screening Blues Kit Kat Klub Memory Gallery: Fred Ebb Remembers…
- Screening Hues Kit Kat Klub Memory Gallery: Fred Ebb Remembers…
- Theatrical Trailer
