More than fat historical tales

More than fat historical tales

To present the non-representative, two methods can be used - one of them, scientific, operates the full collection of all event data, thorough analyzes, collation, charts, tries to show causal relationships between many different variables, supports experiments and case studies. It requires a scientist's great mind. There is also a second method - simpler but more difficult. It is a story through a symbol - a symbol that its multiple, paradoxical meaning breaks through all levels of analysis and sometimes affects a fuller, deeper meaning than large studies. Of course, it requires great artistic sensitivity. Which, it turned out, was characteristic of Bob Fosse. "Cabaret" is a brilliant movie. I am not afraid to say that one of the most brilliant in history. A film for which it was worth inventing a cinematograph. Such a film, at which one finally has the impression that art is indispensable for a person to function normally. And what determines it? Oh, it's harder to analyze here. After all, we have a love triangle in the film - but how many triangles did we see! There is also thrilling music and great vaudeville scenes - but there are plenty of them, especially in revue theaters. Nazism is also a subject of cinema used successfully - from the comedic-dramatic analysis of Hitler's phenomenon in the "Dictator" after the Nazis searching for their Wunderwaffe in "Indiana Jones." No film, however, shows such a brilliant moment when the Nazis came to power. And, unusually, the "Cabaret", the history of the music club in Berlin in the early 1930s, shows it in a gentle way, without names, without any great epics. Sally, a young American, sings in such an ordinary club (beautiful, naive but full of emotions Liza Minnelli, an archetypal seducer).
She meets her ordinary, average Englishman arriving in Berlin (York, correct). Romance is established (with ... certain vicissitudes), everything happens in the dreamlike world of the crazy 1930s, to the music of crazy music, in a world in which slowly, slowly ... and in a moment of respite, when all the main characters choose for a ride to the countryside - in my opinion, the most wonderful scene of the film, this strange, frightening scene of singing in a country beer pub.
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A scene that speaks more about Nazism than a thick volume of historians. This is the creation and catching up of a banal song about a better tomorrow, the hope and trust with which this melody is sung with the young Hitlerjugend - it frightens. And the Master of the Ceremonies just smiles - because he knows what will happen next ... Well, the announcer.
This is the greatest incarnation of Bacchus in the history of cinema. Crazy, dancing and singing Joel Gray is remembered forever. He fascinates, paralyzes and scares - with this make-up, which makes him look like a jester on the one hand and death on the other; these gestures, exaggerated, but at times ironically intelligent; with all of you. He shows that despite his divinity, even this figure in Berlin in the 1930s must change - after all, he begins to despise and ridicule Hitler, and ends with a delight over the monkey-nieżydówką. Because Bacchus, though powerful, is a clown - and the jester is always a reflection and caricature of his time. When the film ended, and the announcer asked me where my problems were and whether I forgot about them - only then did I realize how much this movie absorbed me. Since then I have watched it several times - and always the same, always at the end I realized that I do not think about what is happening around me, what I have to do - and in my head I have only a beautiful Lisa Minnelli, a timid Michael York and crazy laughter of Joel Gray. Because art is to forget - about everyday life. But at the same time, not to forget - about what matters really ...