This week’s Watercooler Musical Interlude is a song especially written for the 1972 movie version of Cabaret and was so popular, it has been added into subsequent stage productions.

That’s all from me this week. Now it’s your turn. Has anyone seen anything lately worth talking about? Lay it on me.

11 Responses to “Moneycooler”

  1. Yep, and it remains one of the most popular songs in the film and subsequent stage productions. It’s certainly one of my own favorites in CABARET.

    With school moving ahead, it’s been difficult maintaning the hectic pace in theatres that typified the summer activity, but I have no regrets as there really is too much to consider at this point. Still Lucille and I managed to see three releases:

    Port of Shadows ***** (Thursday night) Film Forum

    The Tin Drum ***** (Friday night) Film Forum

    How To Survive a Plague **** 1/2 (Saturday night) IFC Film Center

    PORT OF SHADOWS, Marcel Carne’s classic of poetic realism looked marvelous in a new DCP restoration, and added footage enhanced Volker Schlondorf’s Oscar winner THE TIN DRUM. Schlondorf himself was on hand to offer a fascinating introduction. One of the most moving of documentaries, HOW TO SURVIVE A PLAGUE chronicles the inspiring story of activists (including Larry Kramer) who realized they needed to act or literally face extinction. France and some of his staff appeared afterwards for a Q & A.

  2. Such a great movie and a wonderful number.

    I revisited stuff this weekend. On TCM it was Gilda, which is forever fabulous. On DVD I revisited the 1990 caper Quick Change with Bill Murray, Geena Davis, Randy Quaid and Jason Robards. I forgot how funny this movie is. A smaller film that kind of slipped under the radar but lots of fun.

  3. Sam, I was excited to read your positive review of Port of Shadows as I now own it on blu ray. I’ve never seen the movie.

    Despite generally being no fan of musicals, I do love Cabaret. Not just because it is a terrific movie but also because its music was fondly played in the family home when I was a kid. My late father had been in Berlin prior to the second world war and he thought the film authentically captured the decadent spirit of the city’s night life culture at the time.

  4. That’s an interesting observation of your dad, sartre. I’ve sometimes wondered how good a job Fosse did at recreating that moment in time.

    This week I saw The Master and liked it a lot but not loved. Because I have a bit of a quibble about one aspect of Phoenix’s performance (which was otherwise quite good), I do prefer the work of Hoffman. I appreciated Anderson’s ambitious screenplay and, coincidentally, the recreation of the postwar era.

    Also, I finally caught up with The Squid and the Whale, which is quite good but confounding to me. I hadn’t been aware that Jesse Eisenberg played one of the boys.

  5. Pierre’s position on THE MASTER certainly gets a sympathetic ear from me. It’s often brilliant, but there are some hard to frame issues.

    sartre, I greatly look forward to your response on PORT OF SHADOWS, a tremendous French masterwork.

  6. Quick Change is amazing.

    I’m also mixed on “The Master”. It’s my least favorite of PTA’s films. Moments of brilliance but not all that interesting to me.

  7. I love Port of Shadows (or ” Le Quai des brumes” as the French say) I’m a huge fan of Jean Gabin and Michele Morgan is delicious.

    Alison, Quick Change is wonderful. I’m a huge fan of the cast.

    As I said on the Master thread (and indeed the review of it as well) I’m on the pro side of the film, yet ambivalent because it didn’t hit me personally the way some of PTA ‘s otther films have.

    Sartre, I never knew your father had an experience with the atmosphere and history that inspired Cabaret. That’s wonderful! It’s one of my most favorite musicals. This and Singin in the Rain. One thing about Cabaret that really works for me is how the music is all within the context of performance. To a degree SitR is as well. the lines are fuzzier, but still the songs in Rain are very much in a performance mode as opposed to other musicals.

  8. “One thing about Cabaret that really works for me is how the music is all within the context of performance. To a degree SitR is as well. ”

    I agree on both fronts Craig and I think this is also a big reason why they work for me despite falling within a genre I don’t generally warm to.

  9. Exactly. Once again we’re on the same page

  10. Port of Shadows = sublime. It’s my second favorite of Carne’s films, after Children of Paradise. So atmospheric. I suddenly want to watch it again.

  11. Dudes with guns and fedoras standing in the fog moping about women. What’s not to like?

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