Cabaret Film Anaylsis Essay

I directed Cabaret in 1971 and my main tendency was to explore the nature of humans and how they behave in certain hatful. pin down in Berlin, 1931, the cinema follows the lives of cracking Bowles and Brian Roberts through the struggles of living in Nazi Germany. Through the use of film techniques such as camera beam and angles, musical seconds, and repeated attributes, the viewer perceives how what contributes to the decisions people make, and how this affects their lives. The use of camera hypothesiss and angles feature heavily throughout Cabaret. I use the low angle culmination up frequently to establish a feeling of power or dominance.The first musical number I wanted to be viewed from the earshots point of view, looking up at the cabaret performers to examine the performers dominance and create a tense, excited and about sinister atmosphere. It was also utilize to evince that Brian is new to Berlin, a stranger. I showed this by making the sense of hearing conti nu everyy look down on him from many perspectives. The close up shot is also frequently used. This shot is dramatic and fills the screen with a single subject, and when chargeing on a persons face, it is used to show emotion. This shot I used nighly with S totallyy.After she had her child aborted, the auditory sense looked down at her. This combine with the fact she was wearing minimal makeup, it do her look almost child-like, cover she needed protection and emphasised the fact that she was truly vulner fit. Camera focus is used to make the audience pay attention to certain exposit and I wanted to make the MC come to the forefront of the audiences mind as he foreshadows misfortune or the approach path of bad times. The title sequence starts with a blurry image which late comes into focus, and we put one across the face of the MC, indicating what I have just explained before.I much used close ups, or extreme close ups on the pass of the roles. These shots are used to dr aw the audiences attention to a particular detail as well as distort reality. In this movie, I used hands to symbolise the different personalities of each character at different times. In the case of Fritz, I focus on his sleeve cuffs, which are frayed and show his poverty, whilst with Sally, I focused much on her fingernails and the colour changes that happen at different times of the movie, to show she is changing or she leap outs 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 intimidate by him. Musical numbers game in the movie are very important to understanding the context. I placed these numbers strategically later on certain scenes, to infer or foreshadow different events. The opening number gives you an idea of what you will be up for. It juxtaposes the cabaret with the outside wor ld, and what was passage on in Berlin at the time.During the MCs performance, he says escape your troubles outside, life is disappointing. Forget it In here, life is beautiful. I so panned to the audience, and you can see most of them are wearing suits, and the ladies are immaculately dressed, these sorts of people would be beginning to feel the effects of the Nazi Party. The close musical number is Money, Money, Money. This is performed by the MC and Sally directly aft(prenominal) she meets Maximillion.If the audience hadnt already guessed, they are now given a very obvious clue as to why Sally becomes soaked with Max. I even an extreme close up on Sallys face when she sings the line money, money, money, money, money, money, money to show the audience that this is all she wants from Maximillion. The last musical number, If You Could See Her, occurs directly after the conversation surrounded by Brian and Fritz, where Fritz finally admits to being a Jew, but he cant inform Nat alia, as she will reject him.Even though if he did tell her, they would be able to get married, but admitting to having a Jewish background in Nazi Germany probably wouldnt be easy. passim the number, the MC is singing to a gorilla, so there is quite a contrast between both of the lovers, and if this wasnt enough to let the audience realise this song 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 then cut to the scene where Fritz finally reveals his ancestry, so the connection 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 bank 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 about Germany during the war period was brought out through the characters. I also believe I portrayed the fact that people undertake 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 behave in certain circumstances and portray this through my characters.