I agree. the MCs since have been grotesque. And I know part of the point of Caberet is to show a grotesque life, but I FAR prefer Grey's characterization.
Totally agree. The acting,the make up, the singing and dancing revealed the darkness and the horror that was to come in Germany . Joel Grey the best of the best to play that role.
"And it's Joel Grey". You can tell those words left their mark on him. That would have given him the confidence he needed to play the role as brilliantly as he did, despite having tensions with Fosse. He and his daughter both got to play in roles of a lifetime, immortalised forever through iconic cinema.
In 1991 Joel Grey was booked as part of the Theatre at Sea entertainment on my honeymoon cruise. I was beside myself with joy. Unfortunately for me he got cast in the last episode of Dallas. We instead got Eartha Kitt, not a bad substitute 🥰
Re: the locations - all of the interiors were sets constructed at the Munich film studios (save for the scenes in Natalia Landauer's sitting room and probably the rooms at Maximillian's villa). The exteriors were predominantly shot in (then) West Berlin and environs (possibly some in Munich). Fosse, however, did take Minelli to the fleshpots of Hamburg before shooting so that she would get a sense of the 'underworld' spirit of 'Weimar' Germany (quotation marks because, by 1931, it wasn't actually, in the political/economic situation in Germany, still what we understand to be 'Weimar') that would colour the film. Though the film is different from the stage show, it helps to remember that 'Cabaret', as it were, is never the same thing twice. John Van Druten's 'I Am a Camera' is not exactly Isherwood's 'Goodbye to Berlin/"Mr. Norris Changes Trains. And Harold Prince/Joe Masteroff's 'Cabaret' is not exactly "I Am a Camera. It follows that the much lauded Alan Cumming revival is not exactly Fosse/Jay Presson Allen or Prince's interpretation, and so on. The mythology of Sally Bowles has accrued such a patina over the years that these many manifestations can be taken as a kind of 'suite' or composite experience of a cultural figure/social time: no single representation is authoritative. Myths are sensual and supple with their sources: Isherwood doesn't skirt around the fact that 'his' Sally Bowles is not particularly talented (and certainly wouldn't be playing the high end 'amusierkabaret' of Berlin of which the Kit Kat Club seems to be an exemplar [I mean, phones at the tables? That's big time.]). We cannot say the same of Liza's Sally, who has talent to burn and wouldn't have to scramble for gigs in the basement bars of Alexanderplatz. If you really want to see a detailed, grubby vision of Berlin in the 20s, check out Ingmar Bergman's 'The Serpent's Egg'. Though the film is dreary, nihilistic, a touch bizarre in its finale and imbalanced by the radically opposed acting styles of David Carradine and Liv Ullman, the art direction, photography and mood really set an excellent tone as to what Berlin was like of most of its dispossessed citizens As for Joel Grey - as the years pass it becomes more and more locked in place how he was the singular author of the Emcee: devil, pixie, lover, pig, saint, child, guardian.
One thinks that to get a clearer 'picture' of Sally Bowles, just start canvassing for interviews to the people who actually knew her....(literary Mythos) indicates that Isherwood related that Miss Bowles was quite the 'piece-of-work'. A 'twin' to the Holly Golightly as written by Capote, and NOT the Holly as depicted on Screen. As for the Weimar Era of Germany, have met and know a half-dozen or so people who were in their 20's at the time...and either lived or extensively traversed through Berlin..and while, now (at the time of my knowing them---they were quite elderly and non-circumspectively on the Conservative Monied side) but relished in the Risque, grotesquely filmatically 'Expressionistic' everyday Life was on the Streets of Berlin...to them, ''it was as if a 'Breath of Ancient Rome' was in the Air, and nearly every Vice or Taboo, was afoot; and tolerated---so long as it was all, discreet. ''
They dropped her as a character and as a plot line. The entire story was a different one from the one in the original musical, and most of the original songs went too. They couldn't keep Schneider's songs without Schneider.
I feel a certain bruskness to Joel that I don't like on a base level, this is purely relating to others in interviews, but he's very honest. When he feels something is off kilter, like the moment where he said "cheap" or when the interviewer nearly suggested schadenfreude at Fosse hurting himself, he didn't stand for it. No. I respect him as one of the most established stage artists of the 20th century. And still. The breadth of work is astounding.
@@nhmooytis7058 It's extraordinarily difficult for a new actor to take the place of another great actor. So instead of trying to simply copy Grey's portrayal, he wisely decided to take an entirely different take, especially with the suspender, no-shirt look. But it was impossible to top Joel, in my opinion, just like Liza Minelli's Sally Bowles.
@@nhmooytis7058 I was living in Manhattan when she did the show. EVERYONE did the show when they were in town, even Michelle Williams, who was once married to Heath Ledger.
Does Joel grey like ever age? Dude’s like a time lord-always looks younger than he really is. Can’t wait to see Ethan Slater’s take on him for the fosse Verdon series?
Joel Grey mentions Munich a few times. I know quite a bit of the filming was done in northern Germany but did they also film at the studios in Munich ?
I think Joel is referring to the shooting in Munich, also in 1972. From Wikipedia: "The Munich massacre was an attack during the 1972 Summer Olympics in Munich, West Germany, in which the Palestinian terrorist group Black September took eleven Israeli Olympic team members hostage and killed them along with a West German police officer."
@@DaphneFromTacoma - yes, but the initial release of Caberet was 13 February so filming and editing must have been done and dusted by the end if 71. The shootings in Munich only took place on 5-6 September 72, so the film crew couldn't have known anything about them while working in Germany. Anyway, it's not all that important - was just wondering.
That's Absolutely ! FALSE ! The Emcee Numbers ! Remained ! The Emcees ! Two Ladies ! Tiller Girls ! If you Could See Her Through My Eyes ! And Wilkommen!! ...🙄 They Only Changed ! The Money Song ! Wich was Joel Grey's And the Kit Kat Girls !.. for The ! Money Money ! Duet ! With Him And Liza !! You are Making Shit Up !!!
04:10 The back-flip was one of Fosse's 'WOW!' moves: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3ItaESaGWMk.htmlm44s but it's kind of sad that he thought he could just spontaneously demonstrate it almost 20 years later.
This is so odd as I've heard the exact opposite -that originally Grey was in it so much that he dominated the film and they said he was actually in it too much-
Love, these type-style of Interviews; but really wish, IF only for the sake of Historical Record--a la 'from-the-horse's-mouth' recollect; those Interviewed would in their 'advanced years' just tell the 'Unvarnished Truth' and say, just what the Hell was said, Piss-offed, and or Ranted...do like Mr. Grey...but one can clearly perceive that he was dodging his responses....perhaps to some pinning Hopes of further, Future accolades awaiting to bestowed. LoL
Well, ya know, he did have that brash, nasal belty voice like Joel did as the emcee. But let's face it, he would've just been a circus act compared to Joel who had a tongue in cheek, sadistic approach to the emcee.
Very interesting. LOVE the stage musical of Caberet. The film? Not really. (Hated the film if Sweet Charity... Maybe I just don't like Bob Fosse's film-making style.)
Very courageous of Joel to criticize the late Bob Fosse. He should write down all of his accolades and then Bob's... he'd be holding a sticky note in one hand and a 10 page two sided brief in the other.
Seriously? Grey had as much invested in the movie? Hahaha...Taking pleasure in a real artists pain? Jealous much? Joel grey, very few will remember you but the artist that won a Tony, Emmy and Oscar in the same year, he will be remembered.
...someone is NOT in touch with theater at all... You do realize there's a reason Joel does these talks about one of the most iconic roles in theater hisotry almost 50 years after the film was released?
@@Vancoin Plus the man has done MUCH more than this one film. He is what we used to call a "Triple Threat"...He sings, dances, and acts. Back in the contract studio days they dubbed most of the actors because the powers that be cast actors who couldn't sing in musicals. One of the reasons Julie Andrews was voted the Oscar for "Mary Poppins" was because she SHOULD have been cast in her Broadway Roles in "Camelot" and "My Fair Lady". When I saw Joel Grey sharing the MC's songs with Minnelli or her taking them from him, I never watched it again!
Obviously, most of the folks commenting have never seen "Cabaret" on stage. Fosse fucked up the actual story. There is so much more to the stage production. I love Fosse, but I hated his take on "Cabaret". The stage production is much Darker and much Deeper. Sally is a heroin addict. Michael York's part is GAY!. It's set during the Holocaust. Frau Schneider and her heart wrenching decision between love and life because her love is Jewish is downplayed...it is one of the most important parts of the show. The MC is the character that pulls all of the threads together. Whether it was "Hollywood" or "Fosse" who destroyed the story is anybody's guess. I was deeply disappointed in the film. The individual performances were good. The film as a whole wasn't "Cabaret". ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-GEy-p-fO7JA.html
@@lisacooksI STILL don't know the stage production and the Frau Schneider character the way it's done on stage. I'm curious! Because in the movie she's practically forgotten
