What fascinated me, without liking the picture entirely, was the juxtaposition of two worlds: the darkness of a cabaret where anybody’s voice can be heard and the brightness of country fields where the only voice to be heard is that of Nazi Germany. Thus, the cabaret presents itself as a form of escape from outer shells. All of the insecurities of life are shedded at the coat closet where you can sing, drink and mock the harsh reality of the swastika’s suns,once your descend the dark staircases. Nevertheless, the outside world cannot be denied. The arising presence of Nazi officers, the clash and problems of hiding your religion and the insecurity of not knowing if your world is ever going to end, presents itself in many scenes of the film as a harsh reality of what lies ahead. Yet the question lies, do we come to terms with reality or are we forever succumbed to live our lives in the undergrounds of a cabaret?
- Toy Story anyone?”
- Berdark who apparently needs to contact the Costume Department of the film and have serious words with them said, among many thuds, the following: “Es que aunque la mona se vista de seda, mona se queda”
- Igor: "I liked it". The rest: "Did we see the same film?"
- Random acts in the cabaret after each scene: LSD inspired repetitions, necessary for the impaired who didn't get anything previously. Oooohhhh.
- And to Limbo Boy who said "here goes Toto again with a random piece of knowledge that he knows nothing about but insists on teaching it to us": Dumbass. I was right. The character portrayed in the opening sequence sitting at the bar is inspired by Otto Dix’s painting “Portrait of the Journalist Sylvia von Harden” (1926). Apology accepted only by the fact that you made me envious of your new cool phone leaving me 75% jealous (the other percent is due to my Co-chairmanship of the Anti BB Pin Movement which denies me of feeling utter joy for your sense of technological capitalism).