AND ONCE AGAIN ... : 無料・フリー素材/写真
AND ONCE AGAIN ... / mrbill78636
| ライセンス | クリエイティブ・コモンズ 表示 2.1 |
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| 説明 | ... in my opinion I sincerely believe Joel Grey stole the show with his performance as the Master of Ceremonies of the Kit Kat Klub. I don't remember ever seeing Joel in a movie before this one and I don't remember seeing him in a movie after this one. It seems to me he was created to play this part. He brought the bigger than life robust German humor of 1931 to life as no one else could have done. I'll have to watch this more often now that it's available to me on Netflix.From Wikipedia:PlotIn early 1930s Berlin, American singer Sally Bowles (Liza Minnelli) performs at the Kit Kat Klub. A new arrival in the city, Brian Roberts (Michael York), moves into Sally's apartment building. A reserved English academic and writer, Brian gives English lessons to earn a living while completing his German studies. Sally unsuccessfully tries to seduce Brian and suspects he may be gay (Christopher Isherwood, on whose semi-autobiographical book the film is indirectly based, was gay and reportedly "went to Berlin in search of boys to love").Brian tells Sally that on three previous occasions he has tried to have romantic relationships with women, all of which have failed. The unlikely pair become friends, and Brian is witness to Sally's anarchic, bohemian life in the last days of the German Weimar Republic. Later in the film, Sally and Brian become lovers despite their earlier reservations, and Brian and Sally conclude with irony that his previous failures with women were because they were "the wrong three girls."Sally befriends Maximilian von Heune, a rich playboy baron who takes her and Brian to his country estate. It becomes ambiguous which of the duo Max is seducing, epitomized by a scene in which the three dance intimately together in a wine-induced reverie. After a (presumably) bad sexual experience with Brian, Max loses interest in the two, and departs from Berlin. When Sally triumphantly tells Brian that she slept with Max, Brian begins to laugh and reveals that he slept with Max as well. After the ensuing argument, Brian storms off and picks a fight with a group of Nazis, who beat him senseless. Brian and Sally make up in their rooming house, where Sally reveals that Max left them an envelope of money.Later on, Sally finds out that she's pregnant and is unsure whether Brian or Max is the father. Brian offers to marry her and take her back to his university life in Cambridge, but Sally realizes they could never coexist in such a life and proceeds with a planned abortion. When Brian confronts her, she shares her fears and the two reach an understanding. The film ends with Brian departing for England by train, and Sally continuing her life in Berlin, singing "Cabaret" to a highly appreciative audience.A subplot in Cabaret concerns Fritz Wendel, a Jew passing as a Christian. Fritz eventually reveals his true background when he falls for Natalia Landauer, a wealthy Jewish heiress. Although they marry, we are left wondering what their fate will be.The Nazis' violent rise is a powerful, ever-present undercurrent in the film. Though explicit evidence of their actions is only sporadically presented, their progress can be tracked through the characters' changing actions and attitudes. While in the beginning of the film Nazis are sometimes harassed and even kicked out of the Kit Kat Klub, a scene midway through the film shows everyday Germans rising in song to rally around Nazism, and the final shot of the film reflects (literally) that the cabaret's audience is dominated by Nazi party members.While he does not play a role in the main plot or subplot, the "Master of Ceremonies" (Joel Grey) serves in the role of storyteller throughout the film, acting as a bit of voyeur in the circus atmosphere. His surface demeanor is one of benevolence and hospitality ("Wilkommen"), but when the floor show gets underway, he exposes the audience (and the viewer) to the seedy world of the Cabaret. His intermittent songs in the Kit Kat Klub are risque and pointedly mock the Nazis. But even so, as the show (and the film) draws to a close, he sees the writing on the wall: he bids the audience good night, his smile now seems drawn, he performs a hurried bow, and quickly disappears behind the curtain. The camera slowly pans to a mirror, showing many Nazis in the audience.The rise of the Nazis and their increasing influence on German society is dramatically demonstrated in the beer garden scene: A boy—only his face seen—sings to the seated guests what first seems an innocent lyrical song about the beauties of nature. This gradually becomes the strident "Tomorrow Belongs To Me" as the camera shifts to show that the boy is wearing a brown Nazi uniform and lifts his hand in the Nazi salute. One by one, nearly all guests in the beer garden get up and voluntarily join in the singing and saluting.Although the songs throughout the film allude to and advance the narrative, every song except "Tomorrow Belongs To Me" is executed in the context of a Kit Kat Klub performance. |
| 撮影日 | 2009-09-05 20:09:35 |
| 撮影者 | mrbill78636 , PFLUGERVILLE TEXAS, USA |
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