"Cabaret"-----Bob Foss weaves the dream life

Sheila 2021-12-21 08:01:16

Although Bob Foss has only directed 5 movies, it still does not prevent him from becoming one of the best directors in Hollywood. Let’s take a look at his achievements. "King Hall" won 8 Oscars in 1973. Bob. Foss even defeated Coppola's "The Godfather" and won the best director; "A Dream of Life" picked up the Palme d'Or in Cannes in 1980; "Leni Biography" and "Love in Love" won the best directors in Cannes and Berlin. Nominated for best films, almost classics.
In the 1930s, the Nazis gradually emerged in Germany. Berlin on the eve of the great historical change was one of the centers of Europe and the whole of the West. It was a turbulent situation. Although the little people of the big era were trapped in the historical trend, they still had dreams. The show girl Sha Li dreamed of becoming a movie star, and for this, she met and met with all kinds of people who might help her realize her dreams. British English teachers Brian and Sally were tenants under the same roof. The two gradually grew up. There is a relationship between Ruowu, but the two of them as travelers seem to have not taken this relationship seriously, until the two of them met a rich man and started a peculiar "love triangle." The sideline of the story is that a poor and down-to-earth brother clings to a rich daughter. He was originally just for money and faked, but in the end he did a real act and trapped himself, but he also achieved a true marriage. The two were Jewish. The experience of identity reflects the shadow of the expansion of Nazi forces in Germany from the side.
The beautiful songs and beautiful dance gestures ensure the excellent audio-visual effects and entertainment of this type of movie. The problem lies in how to integrate the song and dance with the plot, or to use song and dance to enhance the expressiveness of the theme and film art. "Undoubtedly became a model in this regard. As the theme and main scene of the film, the karaoke hall is a vivid footnote reflecting the characteristics of that era. People of all colors gather, grotesque and drunk. Thanks to the background of Bob Foss, the singing and dancing performers, the highlights of the film are wonderful and hearty, adding infinite charm to the film and at the same time promoting the emotional development of the film just right.
The opening "welecome" points out the great tolerance of Berlin in this particular era, and also gives the story unlimited possibilities; "money, money" is the strongest voice of that era, which is vulgar and accurate, and implicitly implies that the heroes and heroines seem to be beautiful in reality. Hopeless love; the "cabaret" at the end accurately expresses the helplessness of most of the low-level people of that era. No matter how things change, life is short. As long as my generation is drunk and dreams of death, love, once possessed, cannot last forever. Everyone lives together like a dream. Although the main theme of the film is suspected of nihilism, it seems that this is the only realistic ending for the hero and heroine. Just like when we met, we waved our hands to take away a piece of love and sorrow. Singing, dancing, dancing, the world will not slow down or speed up the rhythm of evolution and degeneration because of the difference between you and me.
Different from the joyous scene of prosperity on the surface of traditional song and dance film, "King Hall" fixes the song and dance scene in the scene of the karaoke hall. During the narrative process, the song and dance are edited in parallel, which symbolizes montage. In the film, it is no longer just embellishment, but has become more meaningful than before. It is a sublimated ideographic part that strengthens several key points in the story without destroying the integrity of the narrative. More importantly, this kind of expression can only be realized by movies. This performance technique was extremely groundbreaking in the 1970s, and this may be the reason why Bob Foss was able to defeat Coppola's "Godfather" at the Oscar. Lisa Minnelli is well deserved after she won the film with this film. Whether it is the song and dance part or the drama part, she perfectly interprets this slutty and superficial showgirl. In terms of supporting roles, Joel Gray is really too powerful. His performances all appear in the song and dance section and pretend to be a clown. From the beginning to the end, he didn’t show his true colors, but the expressiveness was amazing, the tension was full, and the outplay was completely in place. In my opinion, he was the most eye-catching performance in the whole film, and even suppressed the performance of the heroine Lisa. The male golden figure is full of gold.

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Extended Reading

Cabaret quotes

  • Sally: I saw a film the other day about syphilis. Ugh! It was too awful. I couldn't let a man touch me for a week. Is it true you can get it from kissing?

    Fritz: Oh, yes. And your king, Henry VIII, got it from Cardinal Wolsey whispering in his ear.

    Natalia: That is not, I believe, founded in fact. But from kissing, most decidedly; and from towels, and from cups.

    Sally: And of course screwing.

    Natalia: Screw-ing, please?

    Sally: Oh, uh...

    [thinking]

    Sally: fornication.

    Natalia: For-ni-ca-tion?

    Sally: Oh, uh, Bri, darling, what is the German word?

    Brian Roberts: I don't remember.

    Sally: [thinking] Oh... um... oh yes!

    Brian Roberts: Oh, no...

    Sally: Bumsen!

    Natalia: [appalled] Oh.

    Brian Roberts: That would be the one German word you pronounce perfectly.

    Sally: Well, I ought to. I spent the entire afternoon bumsening like mad with this ghastly old producer who promised to get me a contract.

    [pause]

    Sally: Gin, Miss Landauer?

  • Brian Roberts: How's the, uh, gigolo campaign going?

    Fritz Wendel: Terrible. This week, already I'm giving up three dinner invitations to spend thirty-two marks on her.

    Brian Roberts: That's quite a sacrifice.

    Fritz Wendel: And here's the craziness: I like it. God damn it!

    Brian Roberts: What?

    Fritz Wendel: I think I'm falling in love with her.

    Brian Roberts: Oh, I'm so sorry.

    Fritz Wendel: So am I.