FASHION

CULTURE
ESSAY & RESEARCH BOOK

ANDREEA POPA

BA FASHION MARKETING & COMMUNICATION,

LEVEL 6, 2019-2022

6FAMK003C VISUAL ARTS CWK1

TEACHER MAYA MCCARTHY

 Th e D i vision Be twe e n Soc i al Classes an d E x c es s iv e Exp r e s s io n o f M o n e y a n d E co n o m ic S t a t us
Du ri n g t h e E a r l y C u l t u re, the social diff er entiation in society started to take shape along w ith the Egyptians w ho promoted luxury th e ir h o u s e h o ld b y a c tin g a s u n re la te d , h ig h ly q u a lifie d p e rs o n s . A lth o u g h a lmo s t e n tire ly d is tin c t fro m e a c h o th e r, th e films me n-

t h ro u g h b e a d s a n d g o l den decor ations, most f amously wor n by N efertiti “The Symbol of the Pharaon” around 2400 B C . B eginning tio n e d in te rc e p t th e th e me o f e c o n o mic s ta tu s a n d its s a lie n t p o w e r in s o c ie ty.

wi t h t h e 1 5 t h c e n t u r y, people star ted to adapt pr ecious materials and textures like fur, gold embroidery, exquisite shellw ork and

h e a d f e a t h e r s , i n t o t h e i r looks, showing a gr eat attention to complex detailing. From the 16th century onw ard, the expression of In th e “ C a b a re t” film d ire c te d b y B o b Fo s s e in 1 9 7 2 , th e is s u e o f s o c ia l d iv is io n is mo s t c le a rly o b s e rv e d w ith in th e s c e n e s b e-

e c o n o m i c p o w e r h a s t a ken a ver y f ast r oute, f r om the appearance of the French Farthingale c.a. 1580 and the ruff w orn by Elizabe- tw e e n c h a ra c te rs Sa lly B o w le s , B ria n R o b e rts , a n d M a x imilia n v o n H e u n e . Th e la tte r is a v e ry w e a lth y ma n w h o me e ts th e c a b a-

t h I. M o s t n o t a b l e f i g u r es of social power of the E ar ly Culture have to be K ing of H aute Couture Louis X IV in 17th century France re t Sa lly b y a c c id e n t a t th e la u n d ry s e rv ic e , h e lp s h e r s p e a k G e rma n to th e fa c ility la d y a n d fin a lly, in v ite s h e r o v e r fo r d in n e r. A s

a n d Ma r i e A n t o i n e t t e of the Royal F amily, both showing we alth and pow er and allow ing in luxury goods like never before. (Tas- Sa lly w a s w ith B ria n a t th a t p o in t, th e th re e o f th e m e n d e d u p h a v in g d in n e r, d rin k in g , d a n c in g a n d e v e n tu a lly s le e p in g to g e th e r.

c h e n , 2 0 0 2 ) Wi t h l o t s o f people getting wealthy in the 19th century, R ational D ress w as an outcome of The D ress Reform Move- H o w e v e r, M a x imilia n d id n o t h a v e a lo n g s ta y, a s h e v a n is h e d s u d d e n ly, le a v in g Sa lly w ith a n u n e x p e c te d a n d u n c e rta in p re g n a n-

m e n t 1 8 8 6 , f u e l l e d b y Oscar & Constance Wilde. Af ter the first World War and the rise of individual designers, in around 1917 c y. In d e e d , th e c h a ra c te r o f M a x imilia n c re a te s is s u e s a ll th ro u g h o u t h is s h o rt a p p e a ra n c e , b u t s till h e is g lo rifie d a s th e mo s t im-

C o c o C h a n e l t o o k l e a d in women’s’ f ashion and invented the Little B lack D ress, the “Ford” of Fashion World making it accessible p o rta n t ma n , p e rh a p s a ro le -mo d e l fo r B ria n a n d th e p e rfe c t ma n fo r Sa lly. In th e d in in g s c e n e , th e a u d ie n c e le a rn s a b o u t h is a n d

fo r w o m e n a t t h e t i m e . ( S mith, 2012) L ooking at the 20th century, early 30s w ere significantly backfired by The G reat D epression, Sa lly ’s la v is h d a y a s h e b o u g h t h e r a fu r c o a t, a s w e ll a s o ffe rin g to p a y fo r d in n e r: “ Yo u c a n h a v e a n y th in g o n th e me n u !” h e to ld

wi t h p e o p l e s t a r t i n g t o lose the accessibility to clothing, f lappers of the past now struggling to financially support their families: h e r e n th u s ia s tic a lly. Sa lly, th e u ltima te p o rtra y a l o f d iv in e d e c a d e n c e , s e e ms imp re s s e d b y h is o ffe r, d e s p ite B ria n ’s g lu m e x p re s-

t h e i r d r e s s f o r m s h i f t e d towar ds higher shoulder s, natur al w aist, longer hemline and overall, a more reserved look. s io n . Ev e n th o u g h Sa lly h a s ma n y c o mp a n io n s , s h e fin d s e a g e rn e s s in b e frie n d in g M a x , imp re s s e d b y h is d is p la y o f w e a lth a n d s o-

c ia l s ta tu s .

Ho we v e r, a l b e i t a c h a l lenging and dr y time in histor y, the 3 0s introduced the notion of private entertainment into peoples’ lives,

wi t h t h e p o p u l a r i z a t i o n of speakeasies, cabar ets, and pr ivate clubs. People of all nationalities w ould enjoy the night life at such Fin a lly, it is s a fe to s a y th a t s o c ia l c la s s e s h a v e a p e rs is te n t e ffe c t o n s o c ie ty ’s ma in te n a n c e a n d w e llb e in g n o w a d a y s , w ith th e g e-

p l a c e s , d u r i n g a t i m e i n society when it was diff icult to f ind an enjoyable activity. Indeed, there w as a crucial division betw een n e ra l fe e lin g o f d iv is io n in c re a s in g b y 3 0 % s in c e th e p a n d e mic th a t s ta rte d in 2 0 2 0 , (D e v lin , 2 0 2 1 ) R e le v a n t e x a mp le s o f e x c e s s i-

s o c i a l c l a s s e s i n t h e 3 0s, with the upper and lower- class individuals constantly entering crises and disputes betw een each other: v e e x p re s s io n o f mo n e y a n d e c o n o mic s ta tu s a re firs t a n d fo re mo s t g o v e rn me n ta l fo rc e s i. e . , p re s id e n ts a n d p e o p le w h o h o ld g lo b a l

“ Pe rha p s a s a w a y o f d isplaying their continued pr osper ity in the face of nationw ide suffering many among the upper classes began p o w e r lik e D o n a ld Tru mp a n d V la d imir Pu tin e x u b e ra n t e x p o s u re o f s ta tu s o n me d ia o u tle ts w o rld w id e . H o w e v e r, th e c y c le d o e s

t o fl a u n t t h e i r w e a l t h mor e than ever ”. ( Ganzel, 2003) Class conflicts became daily new s as they w ould sometimes be violent, es- n o t e n d a t th e p re e min e n t le a d e rs h ip o f th e b ig g e s t n a tio n s b u t c o n tin u e to a p p e a r a n d h a v e a lin g e rin g e ffe c t in th e c u ltu ra l in-

p e c i a l l y i n t h e c a s e o f w or ker str ikes, and while these disagreements never reached a pinnacle, fears of this matter contributed to a flu e n tia l fig u re s . R e g a rd in g th e a v e ra g e p e rs o n , o n e c a n b e n e g a tiv e ly in flu e n c e d b y s o c ia l me d ia e x p o s u re o f p e o p le o f h ig h e r

g e n e r a l s u s p i c i o n , o n both sides, f or the entir e decade. “ s o c ia l c la s s ” s u c h a s h y p e d c e le b ritie s a n d in flu e n c e rs . D ig ita liz a tio n a n d la c k o f c e n s o rs h ip o n me d ia a llo w e d th e s e d iv is io n s in

s o c ie ty to ta k e s h a p e a n d s p re a d a ll a ro u n d th e g lo b e , ma k in g p e o p le mo re v u ln e ra b le a n d a n g e re d th a n b e fo re . Th u s , th e c ris e s in

Th e s o c i a l d i ff e r e n t i a t i on between classes began to be explored and creatively adapted in books, films and music that reflected Su d a n , Le b a n o n , Ve n e z u e la a mo n g ma n y o th e r c a n b e e a s ily d e lin e a te d b y u n d e rs ta n d in g th e c o n c e p t o f u n c o n tro lle d e x p re s s io n o f

re a l i ty i n v a r i o u s w a y s . Among the most notable and innova tive examples are the “N ineteen Eighty-Four” book by G eorge O rw ell e c o n o mic s ta tu s e s .

re l e a s e d i n 1 9 5 6 , S c o r sese’s “Taxi Dr iver ” in 1976 and most recent, “Parasite” by B ong Joon-ho in 2019. O rw ell’s dystopian fic-

t i o n n o v e l f o c u s e s o n t he consequences of totalitar ianism, mass surveillance and regressive regimentation of people and behaviou- In c o n c lu s io n , a lto g e th e r s o c ie ty is c u rre n tly e x p e rie n c in g a s e n time n t o f d iv is io n a n d s o me w h a t in a d e q u a c y c a u s e d b y e x c e s s iv e

rs wi t h i n s o c i e t y ( B r u c e, 1996) . Mar tin S cor sese’s f ilm f ollow s the story of a taxi driver (Robert D e N iro) and his deteriorating e x p re s s io n o f e c o n o mic a n d s o c ia l s ta tu s e s .

m e n ta l s t a t e a s h e w o r ks nights in the city and in these dar k times, finds various forms of entertainment such as brothels and the

b l a c k m a r k e t . T h e p l o t of “P ar asite” f eatur es destitute f amily schemes to obtain employment by an affluent family and infiltrate
CONCEPT RESEARCH
1.1 Understanding Film Innovation

Decade Analysis

Value and Impact

Influence

1.2 The Film

Film Synopsis: Plot

Main Character

Film Posters

The Director

Film Soundtrack

1.3 Understanding Film Communication

Exploration

Filming Techniques

1.4 Understanding Fashion Communication

Decade Analysis on Fashion

The Costume Designer

INDEX
CONCEPT DEVELOPMENT
2.1 Contemporary Evidence

Ongoing Influences in Film, Theatre and Media

2.2 Conclusive Key Photographic Images

BIBLIOGRAPHY
I I
1.1 UNDERSTANDING
FILM INNOVATION

CONCEPT
RESEACH In this chapter, two decades will be analysed in order to understand the his -

torical influence, value and impact that both history and cinema had on the
4

production of “Cabaret” in 1972.

Fi g . 1 Ph o t o o f L i z a Mi n n e l l i a s Sa l l y B o w l e s f r o m t h e f i l m Ca b a r e t , 1 9 7 2

“ Ca baret” Researc h B o o k
D E C A D E A N A LY S I S
The 70s
This decade was very much a repudiation of the 1960s since
lots of backlash and riots began from the events of the 60s.
Many women, African Americans, Native Americans, the
LGTBTQ community as well as other marginalized people
continued to fight for equality while many Americans joi-
ned the protest against the ongoing war in Vietnam. There
were numerous issues inside the federal government at the
time, with people losing faith in the national political power
since President Nixon’s behaviour served them no good - a
“New Right” mobilized in defense of political conservatism
and traditional family roles. (Sullivan, 2021) Insulted by the
Great Society of the 60s, many middle class people were in
favour of Nixon’s policies.
On the other hand, the 1970s showed major changes in so-
ciety in regards to the Women’s Rights movement. After fe-
minists’ continuous efforts of rioting and campaigning, in
1972 the Congress finally approved to the Constitution the
Equal Rights Amendament (ERA): “Equality of rights un-
der the law shall not be denied or abridged by the United
States or by any state on account of sex.” (Britannica, 2020).
Many conservative activists were alarmed by the ERA, fea-
ring that it would undermine the traditional gender laws.
Women began to have more freedom of speech, they built
art galleries, bookstores, consciousness-raising groups, day-
care and women’s health collectives, rape crisis centers and
“ Ca baret” Researc h B o o k
abortion clinics. Indeed, early pregnancy abortions were le-
galized in 1970 with a referendum in Washington, the first
state to legalize abortion through the vote of the citizens. In
order to obtain abortions during this period, women would
often travel from a state where abortion was illegal to one
where it was legal. (Kliff, 2013)
After the Watergate scandal, many people withdrew from
politics altogether as they turned their attention to pop cul-
ture. People began to listen to 8-track tapes of musical artis-
ts such as Donna Summer and Marvin Gaye and disco was
at its all time popularity with hits from Abba blasting loud
in disco bars and in peoples homes. There was also an expo-
nential growth in rock culture as bands like Rolling Stones,
Pink Floyd and Queens as well as the King of Rock Elvis
Presley all had their peak moments during the seventies.
Indeed, during the 1970s there was this appropriation be-
tween music in politics. Rather than big political changes,
the relation between pop culture and politics was more
about association, about showing the citizens that the gover-
nment embraces culture and wants to make it part of the na-
tional prestige. A quintessential example of that is the King
of Rock ‘n’ Roll Elvis Presley visit’s of President Nixon in
december 1970 at the White House Oval Office.
The 1970s decade was all about sexual liberation for women,
the first Women’s Liberation Conference taking place in 1970
in England. The community was boosted by newly released
books such as “The Female Eunuch” by Germaine Greer or Fig. 2 Elvis Presley visit of President Nixon, december 1970
“Sisterhood Is Powerful, An Anthology of Writings from the
Fig. 3 “Aaaaaah,
Women’s Liberation Movement.” by Robin Morgan.
FREAK OUT!”
single by Chic,
In 1971 the first women’s liberation march took place and
1978
spoke on the idea of loosening norms regarding sex, especially
for women. The previous decade, half of unmarried 19 year
olds had not yet had sex. However, two decades later, by the
end of the 1980s, two-thirds of women had lost their virgini-
5
ty by the age of 18. Of course, the invention of the birth con-
trol pill played a huge role in women’s liberation since as soon
Fig. 4 Books empowering the women liberation movement, 1970
as the pill went out on the market, 6 million American women
were already taking it (Cohen, 2015). The 70s decade saw a ra-
dically different perspective in relation to sex and freedom. In
1972, two groundbreaking went bestselling: “The Joy of Sex”
and “Open Marriage”.
This decade also brought about nonheterosexual relationships
Fig. 5 Gay Rights protest during the “Sexual Revolution”, 1970
into the spotlight. The Stonewall Riots became known after
the first gay bar opened in New York in 1969. Harshly rai-
ded by the police, protests erupted and the gay right movement
quickly began to take shape. The most representative example
that clearly captures the perspectives of the sexual revolution
is 1978 “Aaaaaah, FREAK OUT!” by Chic.
Fig. 6 Bestselling books empowering the “Sexual Revolution”, 1972
 The 30s

Fi g . 7 Do r o t h e a La n g e ’ s “ M i g r a n t Mo t h e r ,” Ca l i f o r n i a , Ma r c h 1 9 3 6
IN THE U.S.
As the stock market crashed in 1929, the economy began to en- electricity.” (Ganzel, 2003) At the end of the 30s, the first air fli-

ter one of the darkest periods in human history, The Great De- ght crossed the Atlantic Ocean and the helicopter was invented.

pression. Consumers and businesses panicked terribly and

pulled their money out of banks. Unemployment was at its hi- Although the U.S. had much to suffer as a powerful nation in the

ghest, reaching over 3.2 million of U.S. citizens. The average chaos of the 30s, as things took a turn for the better they mana-

American’s income dropped 40 percent to about $1,500 per year ged to build the first American skyscrapers: The Empire State

while 86,000 businesses failed and 9,000 banks went out of bu- Building, the Chrysler Building and Rockefeller Center. Ano-

siness. (Ganzel, 2003) ther great achievement was the Golden Gate Bridge opened in

The event produced lots of damage in American politics: panic San Francisco, California in 1937 and represented the power and

turned to protectionism in order to prevent further loss of em- progress of the United States of America. (Britannica, 1999)

ployment, President Hoover signed the propose to increase the

tariffs on foreign imports despite personally disagreeing with the

decision and both Reed Smoot and Willis Howley lost their bids IN GERMANY 6
for re-election in 1932 because of the Tariff Act. The Worldwide The 1930s was a decade of tough regulations for Germany,

economic decline reached its worst point in 1933. However, the following the appointment of Adolf Hitler as German chance-
Fi g . 8 Hi t l e r r e v i e w s a n SA p a r a d e a s i t p a s s e s i n f r o n t o f t h e Do r t m u n d t h e a t e r , 1 9 3 3 next year, under President Franklin Roosevelt’s first term, the ta- llor in 1933. Under his rule, the Nazi became a states regime in

riffs were lowered with the Reciprocal Trade Agreement Act. which citizens did not have access to basic rights. The regime

The environment turned calmer once the Congress of Industrial established the first concentration camps imprisoning anybody

Organizations merged with the American Federation of Labor, classified as “dangerous” such as: political opponents, homo-

forming AFL-CIO and representing mineworkers, steel, auto sexuals and Jehovah’s Witnesses. Surrounding these audacious

and rubber workers. In 1935, the citizens were reassured that the acts of violence, the country experienced extensive propaganda

banking crisis had passed and two years later the Congress an- in order to spread the Nazi goals and ideals. Under Hitler’s dic-

nounced the 44-hour workweek with the minimum wage star- tatorship, German Jews (numbering 500,000, less than 1% of

ting at 25 cents an hour, increased to 40 cents per hour within the population) felt the restrictions of all aspects in their public

six years. When oil was discovered in 1934, Americans bought and private lives being limited by hundreds of official edictions

more and more cars and grew demand for gasoline: “In 1930, and regulations.

58 percent of all U.S. farms had cars, 34 percent had telephones,

less than 20 percent owned a tractor and less than 13 percent had

“ Ca baret” Researc h B o o k
VALUE AND IMPACT
Overall, the 30s was not an easy decade in neither the U.S. nor
Germany, the environment in which the film is portrayed. The
Cabaret film depicts the decade in a most realistic way, tackling
the issues of economic statuses of the time, German Jews and
the ways people enjoyed themselves during dark times. It does
so by soothing the pain and suffering felt through the charac-
ters’ stories by adding amusement and entertainment at the most
aching moments. Although the plotline is tumultuous and tragic
at times, Cabaret manages to take the audience into a pleasant
Every year, women from all around the world gather to march for their rights and freedom (Fig.9).
Even considering the pandemic that started in 2020, the “Women’s March Global” organization
made the event possible by digitalizing it with the “Global Count”. The same goes for “Black Li-
ves Matter” (Fig.11), supporting the black community worldwide, despite the terrible events of
2021 (e.g. George Floyd’s death), they continue to fight for justice and equality.
In regards to the shallow entertainment theme, indeed it is still relevant in today’s society,
perhaps more than ever. Albeit hidden or disquised, profane entertainment is consumed regularly
nowadays, with sexclubs being constantly popularized by media. (see Fig. 10)

contemplation and encourages humanity and compassion for all

its complex characters.

Fig. 9 Wome n’s Ma rc h, 2021

In the chart here (Fig.12) one can see the film’s most predomi-

nant themes that encompass many different social, political, psy-

7
chological as well as religious elements. Cabaret tackles themes

that were hugely significant to the 30s U.S. and Germany, also

felt at a worldwide scale, and some of these themes continue to Fig. 10 Grie s s mue hle nightc lub in

have impact on today’s society, only in a rather distinct manner. Be rlin, 2021

Fig. 1 1 “ Bl a c k L i ve s Matter” p rotes t in th e U. S., 2021 Fi g. 12 Fi l m Them es

“ Ca baret” Researc h B o o k
INFLUENCE
In regards to film innovation, one can obser- famous Jane Fonda and featuring the story of a fects into movies was the future. However,

ve that the main themes in films appeared from woman who hires a notorious gunman to pro- the question is in the way one does it, and by

1965 to 1975 are highly different from the pre- tect her father’s ranch, only to later find out that analysing the film production in the next chap-

vious decade. the gunman is now who she expected. (Fig. 13) ter, one can state that 20th Century Fox has fi-

gured it out well with “Cabaret”.

Whereas the fifties had blockbuster movies in Late sixties and the beginning of the seventies

the science fiction, horror and fantasy themes, marked many changes in the post-production In terms of genre and plot line, it can be obser-

the sixties returned to the genres of drama, tra- of movies, precisely special effects in visual, ved that late 1960s cinema was still keen on

gedy and thriller, no wonder why Bonnie and sound and graphics. A quintessential exam- musicals. However, Cabaret could be consi-

Clyde, “the strangest damned gang you ever ple would be the movie “Airport”, based on dered a musical by definition, but it is in fact Fi g. 12 “The Sound of Musi c”, 1965 Fi g. 13 “Cat Bal l ou”, 1965

heard of”, was largely popularised during that the novel of the same title, following the tra- much more, as it makes the audience ponder

Fig. 14 “ Bonnie a nd C lyde”, 1967

Fig. 15 “ The Godfathe r”, 1972

period. (Fig. 14) A few years later, the world gedy of a plane crash. (Fig.16) The story was on societal issues and also taps into their emo-

renowned mega hit “The Godfather” appea- continued five years later with a sequel named tion unlike many other dramas of the time.

red in cinema and began the gangster trend, by “Airport 1975”. (Fig. 17) The main differentia-
8
marking the emergence of the mafia in cinema. tion between the movies was in the develop-

(Fig. 15) Nowadays, there are few people who ment and innovation of production and editing

have not seen “The Godfather” as its premiere techniques.

was hugely influential for society.

In retrospect, one can clearly state that all the-

However, going back to the early sixties, whi- se productions had an impact on film innova-

ch showed a maintenance and preference for tion at that time, as they all represent a specific

musicals, it is no surprise that the highest gros- shift in how people perceived cinema. “Caba-

sing movie of 1965 was “The Sound of Mu- ret” was undeniably influenced by the film pro-

sic”, an American musical drama production, duction of those times, not only plot wise but

featuring a story of love and music in a difficult also in terms of post production.

time characterised by the political domination

Fig. 18, “ C a ba ret”, 1972
of Nazi over Austria, where the movie is ba- The year of 1972 marked a significant time in

sed. (Fig. 12) In the same year, another highly film history, as more and more production of-

grossed movie was “Cat Ballou”, starring the fices began to realise that bringing special ef-
Fi g. 16 “Ai r por t ”, 1970 Fi g. 17 “Ai r por t 1975”, 1975
“ Ca baret” Researc h B o o k
PLOT
The movie begins in complete silence. At the thirty-three-second mark, we hear They agree to be just friends. Brian teaches English to pay the rent. One of However, just as quickly as she arrived, he vanishes from the scene altoge-
1.2 THE FILM

some muffled background noise. Voices. Laughter. Then distorted black-and-whi- his new students is the very proper Natalia Landauer, a Jewish heiress. The ther. Making matter more complicated, Sally learns she is pregnant and is

te images fill the screen before gradually turning into color before we realize that charming gigolo Fritz Wendel, a mutual friend, expresses interest in Nata- uncertain of who the father is. Brian proposes and offers to take her back to

what we have been watching is the twisted reflection of a mirror. Then the grotes- lia, sight unseen, solely because of her vast wealth. But then he slowly star- England with him. Free spirited Sally cannot accept the notion of a traditio-

que, vaguely shocking image: the white face, the bright red lips, the lascivious grin ts to fall in love with her. nal marriage as a wife and mother in small-town Cambridge. Without telling

of Emcee abruptly appears. Brian Roberts arrives in Berlin. He is working toward Meanwhile, Sally returns to the boardinghouse, devastated that her ambas- Brian, she has an abortion. When he asks why, she shrugs and weakly offers

his doctorate of philosophy degree at King’s College, Cambridge University, but sador father once again did not show up for a dinner engagement. She reads “One of my whims?”. The relationship is over: Brian says goodbye to Ber-

has decided to come to the German capital for a break. From his wide-eyed look, a letter from him explaining his absence, and the friendship now turns into lin while Sally remains behind, still searching for some kind of stardom on

it is clear he is happy to be here and makes his way toward Fräulein Schneider’s a full-fledged romance. the ve of Hitler’s Germany.

boarding house, where he meets up with Sally Bowles, his neighbor.

Sally Bowles often refers to herself as “most strange and extraordinary per- In the closing moments, the Emcee reappears, his face now representing

son”. The first time Liza Minelli utters the famous phrase is early in the film more of a Nazi death mask than that of the gleeful entertainer, and then a

as she and Brian Roberts are walking down a Berlin street at night, getting drum roll. He says goodbye and disappears. Echoing Boris Aronson’s in-

to know each other better. After she learns that she is pregnant, she says to ventive tilted mirror in the original Broadway production, Bob Fosse also
9
Brian that the unborn child will be “a most strange and extraordinary baby”. uses a mirror, for his final statement. The images of the Kit Kat Klub that

fill the screen are disturbing ones, as we see the distorted faces of Weimar

It is during these early scenes too that we learn that Sally’s cinematic heroi- Berlin but now there are plenty of Nazi uniforms. Just as it began, the mo-

ne is a now obscure Lya De Putti, a Hungarian silent film actress. In fact, vie ends in silence.

Sally references numerous historical theatrical and cinematic figures. Ca-

Fi g . 1 8 , “ C a b a r e t ” s c e n e w h e n Sa l l y w a n t s t o s e d u c e B r i a n
vorting on filthy rich Maximilian’s boat with Brian one sunny day, she imi-

Sally, as portrayed by the indomitable Liza Minelli, a whirlwind, and someo- tates what she calls a Clara Bow pose. Sally is movie mad: “It’s crazy. Me,

ne you feel instantly comfortable with, as if she has been a lifelong friend. wanting to be an actress” (Fig.19). Other names she mentions include Emil

She introduced some of the residents of the boardinghouse to Brian, inclu- Jannings, the German actor and costar opposite of Marlene Dietrich in “The

ding Fraulein Kost, who she describes as “a terribly sweet sweet walker”. Blue Angel”.

She tells him that she is constantly “dashing” off here and there and that she

performs at the Kit Kat Klub. That night he attends a show, watching Sally But things get complicated when Sally inadvertently meets the handso-

at the Klub: “You know you are very good” he says to her, and they begin a me and very rich Maxilimilian van Heune who promises to wine and dine

tentative relationship. But it starts off on the wrong foot. In fact, it’s a disas- them to their heart’s delight: “I think is my duty to corrupt you”. He tells
Fi g . 19 , “ C a b a r e t ” s c e n e w h e n Sa l y h a s a b r e a k d o w n
ter. She makes a pass at him, which he ever-so politely fends off (Fig.18). both Sally and a glum Brian over dinner, and they end up sleeping together.

“ Ca baret” Researc h B o o k
MAIN CHARACTER
The persona of Sally Bowles is something that we are familiarised with from FILM LOCATION:
the very beginning of the film: she has the devil-may-care attitude of a life lived

on the edge. We definitely know her unique look, from the abundance of black Berlin during the Weimar Republic, 1931
silk, collars, cuffs and emerald green nails, to her distinctive breakfast, prairie

oysters, which is perhaps one of the most significant and at the same time hu- The Weimar Republic was Germany’s government between the

morous details that describes the complex character. wars, that is, between Germany’s defeat at the end of World War I

in 1918 and Adolf Hitler’s turbulent rise to power in 1933. Despite,

Christopher Isherwood is the man who created one of the most famous cha- or maybe because of, the chaotic climate, Germany, and particular-

racters in modern literature. She first appeared in Isherwood’s novella “Sally ly Berlin, proved to be a rich ground for the arts, including not just

Bowles”, which was originally published by Hogarth Press in 1937. She is also cabaret but also film, architecture, photography, fashion, and de-

the featured character in John Van Druten’s 1951 stage play “I am Camera” and sign. Weimar Germany exemplified the modernist movement’s spi-

in the 1955 film of the same name, as well as in the 1966 musical stage adapta- rit. During the Weimar Republic, Berlin was regarded as the most

tion “Cabaret” and of course, the 1972 Academy Award-winning film musical. American of the European capitals.

In his memoir, “Christopher and His Kind”, Isherwood acknowledges he bor-

10
rowed the name from the American author Paul Bowles, whom he met in Ber-

lin, and like the sound of his name, “and the looks of its owner”. (Isherwood,

1962) In Isherwood’s novel, Sally is English, the daughter of a Lancashire mill

owner who also happens to be an heiress. She sings at a bohemian club in Ber-

lin called the Lady Windermere. The Sally of both the novel and the Van Druten

adaptations is a middling singer but an effective one, writes Isherwood, becau-

se of “her startling appearance and her air of not caring a curse what people

thought of her”. Her goal is to become an actress, however supposedly failing

in acting, she would be pleased to have someone take care of her and allow her

to live the life she has grown accustomed to. When both aspirations fall throu-
Fi g. 21 “Cabaret ” m ovi e scene when
gh, she leaves Berlin behind. Regardless of the production that made her come
Sal l y, Br i an and Maxi m i l i an di ne toge -
to life, the fictional Sally has always stayed the same: decadent, flighty and se-
t her for t he f i rst t i m e at t he Ki t Kat
ductive. Over the years, she has been portrayed by Julie Harris, Jill Haworth,
Cl ub, 1972
Natasha Richardson, Michelle Williams, Emma Stone, Sienna Miller, among

others, and most famously, by Liza Minelli. (Fig.20) Fig. 20 Liz a Mine lli

“ Ca baret” Researc h B o o k
 Other actresses playing the role of Sally Bowles Fi g. 24 Nat asha Ri -

Fig. 23 Jul i e Har r i s i n “I am C am era”, 1955

chardson i n Sam Men -

1. Julie Harris in “I am Camera”: Harris appea- des’s Broadway revi val

red in the 1951 stage adaptation of ‘Goodbye to of “Cabaret ”, 1998

Berlin’. She received the 1952 Tony Award for

best performance by a leading actress in a play.
Isherwood described Harris’s Sally as “more es-
sentially Sally Bowles that the Sally of my book, Fi g. 25 Al yson Reed as

and much more like Sally than the real girl who “Sal l y Bowl es” on Broadway,

long ago gave me the idea for my character” (the 1987

author refers to Jean Ross, a nineteen year old

English girl who was a nightclub singer in 1931
Berlin when he first played eyes on her).

Fi g. 26 Mic he lle Willia ms on Broa dway, 2014

Fig. 27 Jill

2. Jill Hayworth in the original 1966 Broadway Hayworth 11

production of “Cabaret” in the origi -

nal “Cabaret

3. Alyson Reed played Sally in the 1987 Broa- production,

dway revival 1966

4. Natasha Richardson played Sally in Sam Men-

des’s critically acclaimed 1998 revival of the
“Cabaret” for which she won the 1998 Tony
Fi g. 29 Em m a

5. Michelle Williams in the 2014 Broadway revi- Stone as “Sal l y

val and later Emma Stone and Sierra Miller Bowl es” on

Bro a d way re -

product i on,

2014

Fig. 22 L i z a Mi n e l l i “Me in Herr” inte rp retatio n in “ C a ba ret”, 1972

Fi g. 28 Mi chel l e Wi l l i am s on Broadway, 2014
“ Ca baret” Researc h B o o k
THE DIRECTOR
Robert Louis Fosse, better known as Bob Fosse, was an American dancer, “Cabaret” was Fosse’s third film, an ambitious adaptation of the Fred Ebb

choreographer, and director who revolutionized musicals with his distinct sty- and John Kander stage triumph, which was based on the nonmusical play “I

le of dance—including his frequent use of props, signature moves, and pro- Am a Camera”, all of which were based on Christopher Isherwood’s “The

vocative steps—and was well known for eschewing light comedic story lines Berlin Stories”.

in favor of darker and more introspective plots. He was born June 23, 1927,

in Chicago, Illinois, United States, and died September 23, 1987, in Washing- The musical, set in 1930s Berlin amid Adolf Hitler’s rise to power,

ton, D.C. He began his career on the stage, where he appeared in such renow- stars Liza Minnelli as Sally Bowles, a “divinely decadent” cabaret dan-

ned musicals as Sweet Charity (1966–67; 1986–87) and Chicago (1975–77), cer who falls for a British writer (Michael York). The new songs by Ebb

and then had a successful, even if brief, cinema career, which included Ca- and Kander (“Mein Herr” and “The Money Song”) were especially re-

baret (1976–77). markable, and Joel Grey was remembered as the leering cadaverous

master of ceremonies. Fosse, on the other hand, was unmistakably the

Redhead, a murder mystery set in 1880s London, was Fosse’s debut Fig. 30 Bob Fos s e portra it photo - Fi g. 31 Behi nd t he Scenes shot film’s creative hub. Cabaret had inventive show-stopping songs and,

Broadway production in 1959–60; Verdon was hired in the title charac- gra phy, 1972 “Cabaret ” Rehearsal , 1972 like much of Fosse’s work, dealt with the seedier side of show busi-

ter and requested that Fosse serve as director. The show was a hit, and ness, exposing adult issues rather than the cheerful romance material
12
Fosse’s choreography earned a Tony Award. He also won Tony Awards characteristic of musicals. The deterioration and ugliness of the plot is

for his choreography in Neil Simon’s Little Me (1962–63), which star- dramatically accentuated by Fosse’s expressive, often excessive use of

red Sid Caesar, and Sweet Charity (1966–67), which starred Verdon as camera movement, editing, and garish color and lighting. Eight Aca-

a hard-luck dime-a-dance hostess. Fosse also directed productions— demy Awards were given to the picture, including best director for Fos-

he codirected Little Me with Cy Feuer, and when Universal picked up se. Oscars were also given to Liza Minnelli and Joel Grey.

Sweet Charity for filming, Fosse was requested to direct it. When it was

released in 1969, the picture was a box office flop hence lots of criti- Fosse’s directing technique was typified by the accuracy and attention

cs thought it was too lengthy and that the emotional passages were la- Fig. 32 The “ C a ba ret” ta le nt c rew, 197 2
to detail with which he treated dance and choreography. His most recent

cking. (Barson, 2014) film was “Star 80”, a dark drama about the assassination of Playboy

model Dorothy Stratten by her husband, Paul Snider, in 1983. Even

Although some songs showed Fosse’s explosive dance, several passa- though the blood wouldn’t show up well on screen, Fosse insisted on

ges suffered from over-the-top staging, indicating that the filmmaker using Snider’s same brown carpet for the crime scene on production.

was still learning how to muffle sophisticated theatre shows for cine- Regardless of whether or not the books made it into the picture, Fosse

ma. In addition, Shirley MacLaine’s portrayal of the titular character told his crew to make sure that every book in every bookshelf on their

received mixed reviews. Playboy Mansion set fit Hugh Hefner’s personality. (Gutoskey, 2019)
Fig. 33 Be hind the s ce ne s of filming “Cabaret ”, 1972
“ Ca baret” Researc h B o o k
Director’s View The Roots of Cabaret
In capturing Cabaret’s musical sequences, all situated on the tiny Kit Kat Klub stage, his camera displayed new matu- The first modern cabaret debuted in Paris, not Germany. Emile Goudeau fou-

rity and sensitivity. “Mein Herr,” performed by Liza Minnelli, is the quintessential Fosse performance direction, with nded the Hydropathes, a literary café in Montmartre, in 1878, which served as

four minutes of intense dancing, camera work, and bold editing. The camera follows her intently, even following her a forerunner and model for the more famous and well-known Chat Noir, whi-

down the stage. The camera is sometimes positioned in the fly area above the stage, while other times it appears to ch he founded three years later with his friend Rodolphe Salis. Goudeau’s li-

be seated in the third or fourth row of the crowd, capturing servers as they walk by. The dancers are photographed in ttle group put on poetry and prose readings, as well as musical performances.

occasionally unflattering, but startling close-up, highlighting the dancers’ wordless, even ominous accompaniment. During the 1880s, Goudeau produced two bohemian books: “La vache infu-

riate”, a novel about bohemian life, and “Ten Years of Bohemia”, a memoir.

In Bob Fosse’s view, all performers must tell a story: “Bob never called us dancers. He would always call us his ac- The Chat Noir, or Black Cat, debuted in 1881 at 84 Boulevard Rochechou-

tors, because everything he did came from an acting standpoint—from an idea or emotion” said Diana Laurenson, art in Montmartre, a rural district of Paris. It was tiny in stature, consisting of

a master theater dance teacher at Broadway Dance Center. When working with the director, one had to infuse every two huge rooms divided by a curtain, and was housed in a small, gloomy old

move with the character and the story, precisely the technique used in “Cabaret” and the reason for its succes. post office. From the start, the Chat Noir was a hit. Henri Riviere, Clau-

de Debussy, Emile Goudeau, Aristide Bruant, and Henri de Toulouse-

Fig. 3 5 “Le Chat Noi r ” poster, 1878
-Lautrec were among the poets, authors, dancers, singers, musicians,
13
Fig . 3 4 L iz a Min e lli a n d Bo b Fo s s e , 1 9 7 2

painters, and playwrights that attended. Montmartre was famed for its

rustic appeal, with vineyards, dirt lanes, and modest cafés dotting the

landscape. Many of the cabarets were located on or near the boulevards

Clichy and Rochechouart, on the outskirts of the neighborhood. Pros-

titutes, street people, pimps, con men, and thieves congregated amid

the quaint old buildings on the side streets going up to the hill, whi-
Bob Fosse used multiple unique “action phrases” to describe his signature mo -
ch Lisa Vignanesi has dubbed the rabble: society’s dregs. Many artists
vements, and many of them are still around today.
and authors came to move in the neighborhood in the 1890s, resulting

in a combustible mix of creativity and lawlessness that transformed

Montmarte into the epicenter of bohemian life in France. Chat Noir, as

a literary cabaret, merged aspects of the intellectual and political lite-

rary salon with elements of the café-concert, which featured songs and
Fig. 3 6 Em i l e Godeau, 1878
other types of popular entertainment, as well as the service of food and

drinks.

“ Ca baret” Researc h B o o k
SOUNDTRACK
I n th is s eq uen ce , t he s o undt r a c k o f “ Ca ba re t ” w i l l b e
analys ed by refere nc i ng t he m a i n t he m e s a dre s s ed i n t h e
film (Fig. 12). I ncludi ng a l l m us i c a l pi e c e s , o r i g in a l l y w ri-
tten b y Kan der a nd Ebb a nd a s pe c i a l t r a c k by G ret t a
Keller, the fil m ha s 1 2 t r a c ks o n i t s s o undt ra ck .
T he movie als o featu r e s a n e w s o n g “ M a y b e Th i s Ti me, ” w h i ch
i s a torch ballad abo u t h e r l o v e wi t h Br i a n . Th e c r o w d ap p ear s
bo red, and a Germa n b u s i n e s s m a n s m o k e s a c i g a r.    “May b e
T hi s Time” was writ t e n b y Ka n d e r a n d Eb b f o r t h e i r p r ev i o u s,
fa iled mus ical Gold e n Ga t e . M i n n e l l i u s e d i t o n h er f i r st al-
bum, Liza! Liza!, re l e a s e d i n 1 9 6 4 . Ac c o r d i n g t o St e p h en Tr o-
pi ano, s he convince d Bo b Fo s s e , wh o h a d h i s d o u b t s ab o u t i t ,
to i n c l u d e i t i n t h e m o v i e .
A l o vely German ren d i t i o n o f t h e o l d Sc h n e i d e r- Sc h u l t z so n g
“M arried” by Aus tr i a n s i n g e r- a c t r e s s Gr e t a Ke l l e r w as h ear d
se veral times throug h o u t t h e f i l m : wh e n Sc h n e i d e r d an ces w i t h
a nother res ident, F r a u l e i n M a y r, a t t h e b o a r d i n g h o u se w h i-
le Bobby plays the p i a n o ; wh e n Br i a n a n d Sa l l y a r e p i cn i ck i n g
i n the woods ; and w h e n Br i a n , a b o u t t o l e a v e Be r l i n en t i r el y,
walk s Sa l l y t o t h e t r a i n s t a t i o n .
Born Margaretha Keller in Vienna, Keller was a
contemporary of Marlene Dietrich and, like Dietri-
ch, had a singular personality. She was also known
for her double entendres. She appeared onstage
with Dietrich, in the musical Broadway. She por-
trayed cabaret singers in several German films and
performed regularly at the Waldorf Astoria and the
Stanhope hotels in New York. She also made many
recordings, including the songs of Kurt Weill. She
was considered a “singer’s singer.”
Fig . 3 7 Greta Kelle r, 1923
“ Ca baret” Researc h B o o k
T h e so n g i s p er f o r m ed b y S al l y B o w l es i n a n i-
g h t cl u b set t i n g i n Wei m ar G er m an y i n 1 9 3 1 i n
t h e m u si cal . H er l o v er h as i n f o r m ed h er t h at h e
i s r et u r n i n g t o A m er i ca w i t h h er t o r ai se t h ei r
ch i l d i n saf et y. S al l y o b j ect s, cl ai m i n g t h at t h ei r
l i f e i n B er l i n i s l o v el y an d t h at p o l i t i cs h as n o
b ear i n g o n t h em o r t h ei r co n cer n s. S al l y w al k s
“F os s e ins is ted w e w ear cos tumes w hen r ehear s ing
o n st ag e af t er a f i er ce arg u m en t , si n g i n g “C ab a-
r et ” ( “l i f e i s a cab ar et , o l d b u d d y ”) , r ei n f o r ci n g
h er d et er m i n at i o n t o l i v e i n b l i ssf u l i g n o r an ce
o f G er m an y ’s l o o m i n g w o es. “Wi t h C ab ar et , w e
and over ” he s aid, w hich made M innelli br eak out in
w er e t r y i n g t o f i n d t h e p i ece, t o w r i t e o u r w ay
laughter. “I t w as like w e w er e J udy and M ickey put-
i n t o i t . T h e f i r st t h i n g w e w r o t e w as ‘ Wi l l k o m-
m en ’ an d t h e v er y f i r st t h i n g t h at ev er h ap p e-
n ed w as t h at l i t t l e v am p . ” ( K an d er, 1 9 6 5 ) T h e
f i n al e, “A u f Wi ed er seh en ”, m i x es el em en t s o f
“Wi l l k o m m en ” an d “C ab ar et ”.
Entertainment
Fi g . 4 0 Jo e l Grey p e rfo rm i n g “ If I Co u l d Se e He r”, 1 9 7 2
Fig . 3 8 Jo e l Grey p e r fo r min g “ Two L a d ie s”, 1 9 7 2
Other songs performed at the Cabaret:
“Two ladies”
“Sitting pretty”
“Tiller girls”
Money and social hierachy
Fi g . 3 9 Jo e l Grey a n d Li z a p e rfo rm i n g “ Mo n ey Mo n ey ”, 1 9 7 2
“M oney” J oel G r ey told Liz M cN eil. Lis e M inel-
li chos e a gow n, G r ey chos e a tailcoat and top hat.
“M y body w as r unning s o hot, doing the s ong over
ting on a s how in a bar n! ” ( G r ey, 1973)
Social indifference
“I f You Could S ee H er ” inf or ms the audience that
to love a J ew is h per s on in Ber lin at this time w as
cons ider ed w r ong: “I as s umed that w hen the em-
cee w alked out w ith a G or illa ( dr es s ed as a gir l)
that it w ould be a f un dance number. But altough
the s ong s eems cheer f ul it has a ver y s er ious un-
der tone to it.
A nd w hen I s aw this s how and the Emcee s ang
the las t line I got the bigges t chill dow n my s pi-
ne” as r ead on anonymous commentar ie of the
movie. The mes s age of the s ong is s tated bla-
tantly, but its eff ect r ings thr oughout the per f or-
mance, making it a key s cene in the f ilm.
Women empowerment
Fi g . 4 1 Li z a Mi n e l l i p e rfo rm i n g “ Me i n He rr”, 1 9 7 2 14
Liza M inelli’s per f or mance of “M ein H er r ” in
Cabar et, as w ell as her identical dr es s , ow e a lot
to M ar lene D ietr iech. Even the glam- r ock s ens i-
bility is inf luenced by D ietr ich’s per s ona: the co-
ver of their s econd album, Q ueen I I , f r om 1974,
f or example, r ef er ences an iconic photogr aph of
D ietr ich w ith her hands on her uptur ned f ace. ( I n
Luc Bes s on’s f antas tical s ci- f i adventur e ‘ Va-
ler ian and the City of a Thous and P lanets ,’ the
Bar badian s inger Rihanna channeled both D ietr i-
ch and M inelli’s per s onas as Bubble, a s hapes hif-
ting alien cabar et enter tainer w ho w ear s a black
bow ler hat and s kimpy black clothing and even
dr ags a chair w hen s he per f or ms , in a s tyle r emi-
nis cent of “M ein H er r ”)
FILM POSTERS
In a further analysis of the spectacular “Cabaret” movie, it can be observed that each country had its own cultural and crea-

tive approach when it comes to the film poster. The photographies, style as well as graphics used define the country’s own

interpretation of the movie. For example, the first ever released poster in Germany, in 1972, features “Sally Bowles” as a

cartoon character and the font, colours and style are all playful and quirky, but altogether, as observed in the present, it la-

cks ingenuity.

However, the official American poster as well as the one that followed in Germany and the other European countries, show

great attention and even sophistication for that decade, they manage to synthesise the film and its main themes very well.

The iconic photography shot of Liza Minelli wearing gathers, a hat and chocker, with one leg up on a chair in her perfor- Fi g . 4 3 Ge rm a n Fi l m Po s te r, 1 9 7 2 Fi g . 4 4 Fre n c h Fi l m Po s te r, 1 9 7 2
Fi g . 4 5 Sp a n i s h Fi l m Po s te r, 1 9 7 2

mance of “Mein Herr”, was used as the main image in many international posters. In France, the backdrop features a picture

of Berlin under Nazi occupation, as well as a cut-out small instantaneous image of Sally and Brian riding a bike in the rain.

On the other hand, in Russia and other East-European countries, the posters are somewhat concealed from real imagery,

even though they portray Sally and her most defining characteristics (her makeup, outfit, dancing, smoking, smiling). Pos-
15
ters from Russia, Poland as well as Cehoslovakia showcase drawings rather than real photography, perhaps because Eas-

tern nations had strict social regulations at that time and did not let much Western influence into their culture. However, by

analysing internally, Russia is a country that hugely admires music, cinema and spectacles of any kind, therefore the “Ca-

baret” movie 1972 was a movie that must’ve been brought into Russian citizens’ view.

Fi g . 4 7 Uk ra i n i a n Fi l m Po s te r, 1 9 7 2
Fi g . 4 6 Ru s s i a n Fi l m Po s te r, 1 9 7 2 Fi g . 4 7 Po l i s h Fi l m Po s te r, 1 9 7 2

Fig. 42 Ame ric a n Film Pos te r, 1972 Fi g . 4 8 Ro m a n i a n Fi l m Po s te r, 1 9 7 2 Fi g . 4 9 Arge nt i n i a n Fi l m Po s te r, 1 9 7 2 Fi g . 5 0 Ja p a n e s e Fi l m Po s te r, 1 9 7 2

“ Ca baret” Researc h B o o k
EXPLORATION
1.3 UNDERSTANDING FILM
COMMUNICATION
Th e w ay Bob Fos s e evolved t h e n arrat ive’s t h em e ir onic. When the M C s ays at the beginning of the f ilm
Cinema is a complex form since it draws its inspiration from all the classic arts in both the ancient and modern age - stage
acros s s everal areas w ill b e exp lored in t h is s ect ion that the w omen of the Cabar et ar e beautif ul., the ima-
drama and vaudeville, design and architecture, photography and the graphic arts, painting and sculpture, and the novel. Ci-
t h rou gh : ge cuts to a man dr es s es as a w oman, putting on a w ig.
nema also draws on techniques and communication forms from the mechanical age, like radio and comic books.
Ther ef or e, it can be s tates that the movie cr eated “a

- I mage S ys tems s exualis ed context to be per ceived as impor tant f igu-

In considering what Cabaret is saying about its subject matter, a thorough investigation has to be done first. While in a rea-
- The Char acter s r es in f ilm” ( P andalf i, 2014) .
listic film style, a film-maker is trying to bring the viewer closer to their subject, in an expressionistic style, he is trying to
- The S ongs
change, move, amuse or otherwise alter the viewer’s idea of the world through the technique of film. In contrast with neo-

realist films where women had inferiror portrayal in comparison to men, “Cabaret” places “the female figure in the centre
F ilm- maker s us e im age s ys t em s to evolve nar r ati-
of the spectator’s and the male protagonist’s focus” (Pandalfi, 2014). Regarding set design, the tilted mirror, black box set-
ve and thematic ideas . A udiences r ecognis e that “each
ting and spiral staircase are all expressionistic elements used as decoration within the production’s setting.
image has been s elected to mean mor e than its elf ”

( F os s e, 1972) . O ne of the key images in Cabar et is

While individuals like Brian and Sally and Max have been looking to gratify their own appetites for love and success, a ter-
the “K it K at Club” its elf , w hich has r ich metaphor i-
rible thing has happened, the Nazi Party has risen to dominate society. Fi g . 5 2 Im a g e o f “ K i t Ka t K l u b ,” 19 7 2
cal meaning.
16
“Cabaret” was seen as a big step forward in cinema when it was released in 1972. Cabaret narrated a story that commen-
“Enter tainment s oothes and aff ir ms - it r ar ely challen-
ted on one of the most profound events in twentieth-century history in a film genre that was considered unimportant and
ges or r idicules the s tatus quo” ( N ochlin, 2021) A t the
socially insignificant. At the same time, it’s a narrative about people and their feelings, as well as individuals and their way
beginning of the f ilm on e of t h e ch aract ers of t h e
of life. It depicts the social realities of Berlin in the 1930s and, in doing so, highlights how politics impacts people’s moral,
f ilm, M as ter of Cer emonies , Emcee s ays “O uts ide it
ethical, and social choices. Most importantly, it investigates what occurs when personal ambition collides with human rela-
is w indy, but in her e it is s o hot! Ever y night w e have
tionships. Cabaret demonstrates that the intimate is political. Cabaret is a rich and sophisticated work of art, and its thema-
the battle to keep the gir ls f r om taking off their clo-
tic depth is derived from its stylistic complexity. Fi g . 5 3 Mo v i e Sc e n e o f Sa l l y , B r i a n a n d Ma x i m i l i a n d a n c i n g , 19 7 2
thing. S o, w ho know s ? Tonight w e might los e the ba-

ttle! ”.

O ne motif in Cabar et is dis guis e - char acter s hide

their tr ue s elves behind a s er ies of ‘ r oles ’ or dis gui-

s es . F or ins tance, Br ian s eems naive in matter s of s ex

but in the end he is jus t as s ophis ticated as S ally. This

motif is us ed f or comic eff ect, w hich is als o at times

Fi g . 5 4 Po r t r a i t o f t h e “ E m c e ,” 19 7 2
Fi g . 5 1 L i z a Mi n e l l i a n d J o e l Gr e y p e r f o r m i n g “ Mo n e y Mo n e y ,” 19 7 2
“ Ca baret” Researc h B o o k
 What the critics
Fig. 56 said about the movie
Th e w orld p rem iere of C ab aret w as in the f ilm w er e thos e w ho could s ing -
Zie gfe ld
h eld at t h e Ziegf eld Th eat re in Man h a- “clear ly an innovation in mus icals ”.
The atre ,
t t an on Feb ru ary 13, 1972. Th e m ovie
N e w oY r k,
received m os t ly excellen t review s . Var iety als o commented on the f ilm’s in-
1972
ventivenes s , pr ais ing it f or being liter a-

Roger Eber t of the Chicago S un- Ti- te and baw dy, s ophis ticated and s ens ual,

mes f ound it to be the oppos ite of or- cynical and hear tw ar ming and “dis tur-

Fi g . 5 5 Zieg fe ld Th eatre, N e w oY rk , 1972 dinar y, par tly becaus e it didn’t f all f or bingly thought- pr ovoking”.

the old cliches that mus icals ar e s uppo-

s ed to make the audience happy. I ns tead, P er haps the mos t f amous r eview of the
Fi g . 5 7 “ Va r i e -
he claimed that dir ector Bob F os s e had f ilm w as by P auline K ael I n the N ew
t y ” m a g a z i ne co -
gone “r ight to the bleak hear t” of Chr is- Yor ker. S he s tated “Cabar et is a gr eat 17
ve r of t he 1 9 7 2
topher I s her w ood’s orginal s our ce ma- movie mus ical, made, mir aculous ly, w i-
ye a r, 1 9 7 2
ter ial. thout compr omis es ”. S he admir ed it f or

being uns entimental, f or bef or e it, s he

S tanley K auf mann in the N ew Republic ins is ted, ther e had never been a “dia-

als o pr ais ed I s her w ood’s or iginal s to- mond- har d big A mer ican movie mus i-
Fig. 58 P a paraz z i s hot at the “C abaret” prem i ere, 1972
r ies , w hich he called “incompar ably the cal”.

bes t”, but he ins is ted that the f ilm w as

Fig. 6 0 Film Cr i - much better than the Br oadw ay mus ical, S he f ound it to be “ever ything one ho-

tic S t anley K a u - us ing the political atmos pher e of Wei- ped f or and mor e”. I f it is not a commer-

fmann, 2001 mar Ber lin f or much mor e than a “f ir s t- cial s ucces s , f or ther e w as no guar antee

- act cur tain”. that it w ould be, s he maintained it w ou-

ld s till make movie his tor y “by def ying

H ollis A lper t in the S atur day Review the tr aditional br eaking- out- into- s ong”.

acknow ledged its gr oundbr eaking s ta-

tus s ince the only actor s allow ed to s ing

Fi g . 5 9 Roge r Elb er t h o ld in g “ S u n -Time s” m agaz i ne , 1972
“ Ca baret” Researc h B o o k
 FILMING TECHNIQUES In t h i s sect i o n t w o o f f i l m ’s m o st p ro m i n en t p erf o r-
m a n ces, “ C a b a ret ” a n d “ Mei n H err” , w i l l b e a n a l y sed
i n reg a rd s t o f i l m co m m u n i ca t i o n a n d p erso n a l o b ser-
vation.
I n t h e “C ab ar et ” p er f o r m an ce, t h e d ecad en t S al l y B o w l es
i s em o t i o n al l y r aw, v u l n er ab l e, an d p o w er l ess i n t h e
st ar t o f h er so l o p er f o r m an ce o f “C ab ar et , ” b u t sh e r e-
b o u n d s t o co n cl u d e t h e so n g as a v i ct o r i o u s an t h em an d
r ecl ai m s h er sel f an d h er i n d ep en d en ce. S h e i s i n t r o d u-
ced o n st ag e b y t h e ech o i n g v o i ce o f E m cee: “I g i v e y o u
F i g. 61 F i lm F r am e s of L i z a Mine lli pe r for m ing “C abaret”,
t h e i n t er n at i o n al sen sat i o n , S al l y B o w l es”. S h e ap p ear s
t o sh o w a f eel i n g o f sad n ess m i x ed w i t h co n cen t r at i o n
b ef o r e su d d en l y ch an g i n g h er f aci al ex p r essi o n an d en-
t er i n g h er st ag e ch ar act er. D u r i n g t h e p er f o r m an ce sh e
g i v es v ar i o u s f i g u r at i v e f aces, d ep en d i n g o n t h e l y r i cs of
t h e so n g . A p ar t f r o m m i m i ck i n g , sh e u ses g en er o u s h an d
g est u r es t o ex p r ess t h e k ey m essag e o f t h e so n g “L i f e
i s a C ab ar et ” an d t h er ef o r e en t i ce an d sed u ce h er au-
d i en ce i n t o t h at p er sp ect i v e: l i f e i s t o b e en j o y ed an d l i-
v ed f u l l y, as o n e d o es i n t h e C ab ar et ( K i t K at C l u b ) . H er
co st u m e al so h el p s i n t r an sm i t t i n g t h e m essag e, w i t h an
197 2
o v er n eck p u r p l e g o w n sect i o n ed b y t i n g l y m et al st r ap s
t h at sh ak e each t i m e sh e r ai ses h er ar m s. T h e ar m s p l ay
an i m p o r t an t r o l e i n m ai n t ai n i n g t h e h i g h en erg y t h r o u-
g h o u t t h e p er f o r m an ce, as sh e u ses g r an d g est u r es t o f u r-
t h er am p l i f y t h e f eel i n g t h at t h e so n g g i v es o ff . A t t h e
p i n n acl e o f t h e p er f o r m an ce as sh e i n v i t es t h e au d i en-
ce t o “C o m e t o t h e C ab ar et ”, t h e scen e l i g h t s u p an d sh e
r et u r n s t o t h e cen t r e. T h i s m o v em en t r ef er s b ack t o t h e
ex p r essi o n i st i c t ech n i q u e o f p l aci n g t h e w o m an i n t h e
“ Ca baret” Researc h B o o k
centr e of the s pectator ’s f ocus ( P andalf i, 2014) . The cli-
max of the per f or mance is inter pr eted in a low er voice,
w hich tough- thr oated Liza M inelli does outs tandingly
w ell, and it takes a melancholic tur n f r om the r es t of
the s ong, as s he tells the s tor y of a Cabar et dancer that
dies f r om “too much pills and liquor ”. This s cene is co-
ver ed in w hite light, as to expr es s the cold and dr ead of
the s tor ytelling. H ow ever, once S ally r emember s her,
s he begins the chor us yet again, r ecalling the w or ds of
her pas t f r iend at the Cabar et: “What good is s itting alo-
ne in your r oom?/ Come hear the mus ic play”. A t the end
of the s ong, the cur tains open up in s pecif ic per f or mance
s tyle and the audiences enor mous applaus e can be hear d
thr oughout the lounge. 18
A s f or “M ein H er r ”, many s pecif ic Cabar et s tyle ele-
ments ar e r epeated, s pecif ically light and s ound eff ec-
ts . H ow ever, this can be categor is ed as a mor e complex
per f or mance, s ince S ally has back- up dancer s her e, and
s he can be obs er ved f r om multiple diff er ent angles as
s he plays w ith pr ompts : the chair and her hat. The cos-
tume def initely impacts this per f or mance, or the other
w ay ar ound, the per f or mance inf luences the cos tume’s
eff or tles s , s exy and f r ee look. S ally’s nonchalant mo-
ves ar e vis ually impr oved by the us e of diff er ent f ilming
angles , f or example the s hif t betw een low er camer a an-
F i g . 6 2 F i l m F r a m e s of L i z a Mi n e l l i p e r fo r m i n g “ Me i n He r r ”, 1 9 7 2
gles and w ide angles f eatur ing her dancer s as w ell. This
A key element in the movie is the color red. Present in the film title design, posters, as well as almost
is a technique only s een in f ilm, and an innovation at the
every scene and performance in the movie , the red color expresses passion, intense emotion and “life
time, s ince people w er e us ed to view ing mus icals live, force”: elements that make the Cabaret thrive. The main character, Sally Bowles wears at least a small
bit of red in all of her outfits and if not, she adds the red lipstick.
and obs er ving the per f or mer f r om one angle only.
 1.4 UNDERSTANDING FASHION
COMMUNICATION
Short overview of decades in Fashion

The 30s - romantic and f e m i n i n e s i l h o u e t t e i n wo m e n s wear

The 70s
- bell bottom pants , f low ing maxi dr es s es , w r ap dr es s es , ponchos

- the bias cut and f r ayed jeans

- exaggerate s houlde r- o n s u i t s a n d d r e s s e s wi t h s l i m w ai st s - bold color s , patter ns and handmade mater ials in dayw ear, ear ly

- H ol lywood ins pired g o wn s a n d c i n e m a i c o n s i n f l u e nced l o o k s s eventies Yves S aint Laur ent

- democratis ation in m e n s we a r : k n i t t e d s we a t e r s , s o f t - co l l ar ed - s equins , s atins and velvet f or eveningw ear ( “P olyes ter D ecade”)

- shirts and sharkskin suits popular ized by H als ton

- ongoi ng pres ence of m i l i t a r y s h a p e d o u t e r we a r i n m e n sw ear f r o m - tie- dye ins pir ed by the 1960s “hippie” s tyle, patchw or k and

- “ T he Great Depres s ion ” l o o k o f wo r n b o o t s , l a rg e o v er co at s an d plaid f abr ics

- flat caps - tur tlenecks , s lim s hir ts and tight- f itting tr ous er s in mens w ear

- gender equality in f as hion - it w as acceptable f or w omen to

19
Fi g . 6 3 Me n s w e a r It a l i a n , 1 9 30 s
dr es s in mens w ear and the other w ay ar ound

Fi g . 6 4 Mc C a l l ’ s Ma g a z i n e . Ev e n i n g Dr e s s e s , Oc t o b e r 19 3 5

Fi g . 6 5 Ma d e l e i n e V i o n e t , Ev e n i n g d r e s , c a . 1 9 3 2 Fi g . 6 6 J o a n Cr a w f o r d , 1 9 32 Fi g . 6 7 El s a Sc h i a p a r e l l i , J a c k e t , 19 3 8 Fi g . 6 8 Yv e s Sa i n t L a u r e n t , Cr o q u i s o f A Da y d r e s s Fi g . 6 9 B i a n c a J a g e r , 19 7 2

a n d J a c k e t , Su m m e r 19 7 1

“ Ca baret” Researc h B o o k
COSTUME DESIGNER
Director Lee Blair conducted the first production design meeting by vocally sket-

ching inspired visuals and outlining historical and plot themes he thought were rele-

vant. He described the time as Berlin’s pinnacle, an avant-garde arts destination, with

decadence pushing the city’s boundaries to the brink of an active volcano. Director
Sally’s dressing robe was created as a
Blair suggested that the designers read Mel Gordon’s anthology Voluptuous Panic: response to the script notation “Sally

The Erotic World of Weimar Berlin, which he described as a significant source and is dressed to go out,” which appears

F i g. 7 0 Otto Dix , G r os s tadt, oi l pai nt i ng, 192 8 at the beginning of Act II, Scene four

insight into the city’s extreme fringe culture. The club’s financial standing was also (Kander and Ebb, 1966) The Direc-
tor eventually utilised the clothing in
crucial, because the glitz and glam obscured the truth under the surface: the party in several transitions.

Weimar Berlin was disintegrating with every goosestepping boot strike. Hard indus-

trial setting and black-red-white color palettes are commonly associated with caba-

ret revivals. The Kit Kat Girls and Boys were to be dressed like frequent drug users

and prostitutes, destitute, exhausted, and rough around the edges, but nevertheless as-

pired to grandeur and splendor. Cliff’s fantasy world starlets were these brassy ladies

and gentlemen. F i g. 7 3 L i z a Mi nel l i i n “Cabaret ”, 197 2 20

The brilliant costume designer Charlotte Flemming works brilliantly epitomize the

Fosse aesthetic. As the most quintessential example, in the “Mein Herr” performance, Sally’s artistic and professional part-

F i g. 7 4 L i z a Minelli and J o e l G r ey p e r fo r min g “Mo ney Mo ney ”, 1 97 2

F i g. 7 1 P i c ture of C har lotte F l emmi ng, 197 0 ner at the Cabaret, Emcee, is a dis-
it’s difficult not to notice every movement of her body, from the twisting of her torso tinctive androgynous character that

to the flailing of her arms, the tipping of her hat to the straddling of the chair, despite expresses fluid sensuality, ringmaster
showmanship, and lone wolf voyeur

the poor lighting and dark hue. This film wonderfully depicts the fashion direction in all throughout his performances. His
personal style is showcased through
the 1970s and pays homage to the cinematic forebear at the same time. his costume as well, since he mostly
wears the 30s iconic menswear look:
black tuxedo with vest and white

The concept of preserving the film’s universe in the 1930s decade, with antique co- shirt, lots of buttons, bowtie, a bla-
ck hat and walking stick. However,

lor and early art deco geometrics, piqued the interest of the scenic and costume desig- the character twists of the look are
what make the extravagant appea-
ners. Cabaret’s natural resource is German expressionist art, which reflects the land rance: a skirt overall and a face full
of makeup.
and culture of Berlin at that time. Although their art appears to be wildly bright and

amusing at first glance, there is frequently a darker undercurrent: murder, prostitution,

sinister characters, and so on, which all tackle the film’s main themes.

“ Ca baret” Researc h B o o k
F i g. 7 2 L i z a Mine lli pe r for m i ng “Cabaret ”, 197 2
I I CONCEPT
DEVELOPMENT
In this chapter, contemporary culture will be analysed in order to understand

“ Ca baret” Researc h B o o k
how film influences contemporary society.

Fi g.75 L i z a Mi nel l i and Mi chael oY rk, 1972

21
 2.1 CONTEMPORARY EVIDENCE
Ongoing Influences in Film, Theatre & Media
In 1995, Cabaret was added to the National Film Re- There have been many innovative stage and movie mu

gistry. In 2004, the American Film Institute ranked the sicals since “Cabaret”. Some, like Hair, The Rocky Hor-

title song #18 in its list of top 100 songs in American ror Picture Show, Hedwig and the Angry Inch, Ameri-

cinema and in 2007 it was #63 on the AFI’s list of the can Idiot, and Hamilton have been just as distinctive

100 greatest American movies ever made. (AFI, 2007) and revolutionary in their own way.

Cabaret has been referred to be both the first adult mu-

sical and the first concept musical. Based on the current

research, which includes social and political history, Fi g . 8 0 Po s t e r f o r “ G l e ,” 20 1 3 Fi g . 8 5 “ R i v e r d a l e ” Mu s i c a l Sp e c i a l , 2 0 2 0

fashion and film communication, and other significant

details, it can be concluded that Cabaret was innovative

Bo b F o sse i n sp i r ed c h o r eo g r a p h y

in many ways, including its double score for books and

cabaret scenes, music as social commentary, and ex-

pressionistic motifs. Fi g . 7 6 Po s t e r f o r “ F u n y Gi r l ” UK To u r , 20 1 7 22

One of its most original elements is the notion of com-

bining genuine book scenes with cabaret scenes. The

Fi g . 8 1 B e y o n c e , 20 0 9 Fi g . 8 6 “ S m a s h ” Am e r i c a n s e r i e s , 20 1 2
soundtrack in the movie is derived from the plot and the

conversation between characters. The advent of fascism

Fi g . 7 Th e “ H a m i l t o n ” Sh o w i n Au s t r a l i a , 20 1 9
is viewed through the eyes of the cabaret’s patrons.:
Fig. 79 Homag e t o “Hedwig and The Angry Inch ” Special Riv e r d ale episode, 2021

“The show’s mixture of lowbrow and middlebrow music

captures something that was in vogue in Brecht’s and

Weill’s day” (Garebian, 2014) Cabaret effectively re-

surrected the dormant Hollywood film musical, the ol- Fi g . 8 2 B r i t n e y Sp e a r s , 20 0 9

d-fashioned musicals, the great bloated musicals of the

time such as: Camelot, Paint Your Wagon, Funny Girl,

and similar-style musicals. They were all virtually wi-

ped off in the 1960s as Cabaret breathed fresh vitality

Fi g . 8 7 El i s a b e t h Er m i n Re t r o B r o a d w a y Ed i t o -
into the genre.
r i a l f o r Nu m e r o m a g a z i n e , 2 0 1 3
Fi g . 7 8 Na i l Pa t t r i c k Ha r r i s i n “ He d w i g a n d Th e An g r y In c h ”
“ Ca baret” Researc h B o o k Fi g . 8 4 Ri h a n a Gr a m y p e r f o r m a n c e , 20 1 8
p e r f o r m a n c e , 20 1 4
Ongoing Influences in Film, Theatre & Media

Fi g . 9 2 Ewa n McGre go r a n d K ryst a Ro d ri g u e z , 2 0 2 1

While it was revolutionary, the 70s film sensation followed the Broadway standards. Caba-

ret’s ultimate greatness resides in its tripartite nature: the role of Emcee serves as a three-

-way mirror, reflecting the Bowles-Isherwood connection, Nazi Germany’s ascendancy, and

the audience’s consent. Cabaret is also the first major American musical inspired by poli-

tical cabaret and it has often been said that Cabaret was a musical for people who did not

like musicals. The film’s goal is to make viewers uncomfortable by having them think, in

the greatest Brechtian tradition. (Sawyers, n.d.) Cabaret is set just before the Nazis come

to power. In other words, it is still theoretically possible for the country to take a different
Fi g . 8 8 “L a Fam a” m u si c v i d eo pos ter and s cene of Ros alia and The Fig. 91 “Hals ton” s er ies pos ter, 2021
path. The Kit Kat Club’s audience, unlike those viewing in theaters or on the big screen,
Week n d , 2 0 2 1
has no idea what is now known since they could not foretell the future. Cabaret is therefore

a timeless cautionary morality tale: “It’s essentially about the core riddle of the twentieth

century - how Hitler came to be.” And it’s critical that we keep raising the question of whe-

ther we can find a solution.” (Mendes, 2014)

23
In recent years, the musical has received new life on television shows such as Glee and

Smash. Among the most significant apparitions were Baz Luhrmann’s Moulin Rouge in

2001, Martin Richard’s Chicago in 2002, Steve Antin’s Burlesque in 2010 and Damien Cha-

zelle’s La La Land in 2014.

Apart from film, Cabaret’s most recent influence is observed contemporary productions Fi g . 8 9 “Bu r l esq u e”, C h r i st i n a A guilera and Cher, 2010
Fig. 93 “La La Land” Film Pos ter, 2016

such as Halston Limited Series on Netflix released in 2021 and portraying the life of the re-

nowned designer that revolutionized 30s fashion, who, interestingly, had a very good rela-

tionship with Liza Minelli, as she wore his pieces in show numerous times and considered

him a treasured friend.

Lastly, regarding perhaps one of the most influent form of entertainment in 2021, music

videos, elements of the Award-winning 70s musical can be observed in Rosalia and The

Weekend’s “LA FAMA”, a clip recognized worldwide that has surpassed 35 million views.

All the aforementioned examples go on to show that even after 50 years since Cabaret
Fig. 94 “Chicago” Film Pos ter, 2002
Fi g . 9 0 “Mo u l i n Ro u ge”, Ni cole K idman and Ewan McGregor, 2001
was released, its ascendancy continues to revel in people’s hearts.

“ Ca baret” Researc h B o o k
 2.2 CONCLUSIVE KEY
Editorial Inspiration PHOTOGRAPHIC IMAGES
T h e Look
- 20s flapp ers d ress s t y l e a nd a t t i t u -

des , open b ack / topl e s s wi t h de t a i l e d

lavis h j e we l r y

- pe arls , s parkle jewe l e r y, be a ds , l a c e

gloves and d a ng l y e a r r i ng s

- m akeu p: white fa c e , da r k e y e s ha -

dow, d rawn -on h igh r i s e t hi n e y e bro ws

h air: s leek o v a l c ur l s

24
- cigarett e ho l de r

T h e shooting

- decad ent an d 20s /3 0 s i ns pi re d l o -

cation and p ro m pt s

- clos e-up s h ots , obs c ure , da r k

and u nexpected s h a do ws , hi g h c a -

mera an g l e s

“ Ca baret” Researc h B o o k Fig. 95 Pin t e r e st, no da t e

 25

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