Cabaret Film Anaylsis Essay

I tell Cab art in 1971 and my main aim was to look the nature of humans and how they be be in possession of in veritable circumstances. Set in Berlin, 1931, the depiction follows the lives of fissure Bowles and Brian Roberts by the struggles of living in national socialist Germany. Through the drug ab economic consumption of film techniques such as tv camera cranny and angles, musical theater numbers racket, and repeated figures, the viewer perceives how what contri savees to the decisions people desexualize, and how this affects their lives. The use of camera shooters and angles featured heavily byout Cabaret. I use the low angle close up frequently to establish a feeling of government agency or dominance.The first musical number I wanted to be viewed from the auditory modalitys direct of view, looking up at the nightspot performers to presentation the performers dominance and create a tense, excited and somewhat sinister atmosphere. It was withal employ to show that Brian is new to Berlin, a stranger. I showed this by making the auditory sense continually look drink on him from many perspectives. The close up beam is also frequently used. This shot is dramatic and fills the cover with a single subject, and when focusing on a persons face, it is used to show emotion. This shot I used mostly with Sally.After she had her child aborted, the audience looked down at her. This combined with the concomitant she was wear minimal makeup, it made her look some child-like, showing she needed protection and emphasised the position that she was in truth vulnerable. Camera focus is used to make the audience pay attention to certain expand and I wanted to make the MC bring to the forefront of the audiences mind as he foreshadows misfortune or the coming of giveome propagation. The title sequence starts with a blurry range which slowly comes into focus, and we see the face of the MC, indicating what I have just explained before.I often used close ups, or extreme close ups on the hands of the characters. These shots are used to draw the audiences attention to a particular detail as well as distort reality. In this movie, I used hands to symbolise the divergent personalities of each(prenominal) character at different times. In the type of Fritz, I focus on his sleeve cuffs, which are frayed and show his poverty, whilst with Sally, I focused to a greater extent on her fingernails and the colour changes that happen at different times of the movie, to show she is changing or she projects a different persona for different people, which made Sally appear fake.For example, when she went to meet her father, she removed her nail polish, which for the cabaret and most other times in the movie is vivid green, showing that she was intimidated by him. musical theater numbers in the movie are very important to understanding the context. I placed these numbers strategically after certain scenes, to infer or foreshadow different eve nts. The opening number gives you an desire of what you will be up for. It juxtaposes the cabaret with the distant world, and what was going on in Berlin at the time.During the MCs performance, he says Leave your troubles outside, life is disappointing. stymie it In here, life is beautiful. I because panned to the audience, and you potful see most of them are wearing suits, and the ladies are immaculately dressed, these sorts of people would be stemma to feel the effects of the Nazi Party. The next musical number is Money, Money, Money. This is performed by the MC and Sally instanter after she meets Maximillion.If the audience hadnt already guessed, they are now given a very axiomatic clue as to why Sally becomes riled with Max. I even an extreme close up on Sallys face when she sings the bourne money, money, money, money, money, money, money to show the audience that this is all she wants from Maximillion. The stick up musical number, If You Could See Her, occurs directl y after the confabulation between Brian and Fritz, where Fritz finally admits to being a Jew, however he cant inform Natalia, as she will reject him.Even though if he did tell her, they would be able to get married, but admitting to having a Judaic background in Nazi Germany probably wouldnt be easy. Throughout the number, the MC is singing to a gorilla, so there is quite an a contrast between both of the lovers, and if this wasnt enough to let the audience realise this birdsong is related to Natalia and Fritzs relationship, the last line the MC sings if you could see her through my eyes, she wouldnt look Jewish at all makes direct reference.I because cut to the scene where Fritz finally reveals his ancestry, so the fellowship becomes quite clear. During all of the numbers, I have described, you can see that the MC is present. He also appears at certain times during the movie before or after problematic events. The MC is a symbol for fear, also a symbol for the troubled times in the movie. I brought him in to warn the audience of the events to come, and his appearance, exaggerated personality and overdone makeup, project a sinister vibe which I believe the audience picks up on and foreshadows what is to come.Directing this film was a magnificent pleasure, and I believe my beliefs and values approximately Germany during the war period was brought out through the characters. I also believe I portrayed the item that people seek the escape lifes difficulties with entertainment through the musical numbers and camera techniques used in Cabaret. Using these techniques, I also was able to explore the nature of humans and how they answer in certain circumstances and portray this through my characters.