Cinco DeNio

In the interests of equal time...

Maybe she could change to Tomspanx and get some sweet sponsorship money.

I thought maybe she was named after Thomasina Paine, the hero of the revolution in Death Race 2000 but that name is spelled "Th".

My profuse apologies! (Borrowing from Cameron H.)

I bet the inside looks like:

So you were a Rent boy?

Considering who it's named after (no joke!) would you expect any less?

Frank Oz is a true artist. He didn't want to just re-do the Blues Brothers scene beat for beat. The scene from Trading Places is him processing Winthorpe INTO prison. That's the only real difference.

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Yep! Here's the story behind it. A few years ago my niece was staying with me and she LOVES this movie. I took her to see La bohème when the NYC Metropolitan Opera broadcast it into movie theaters. That same night she tried to show me the La Vie Bohème number and I wasn't having it. I was tired, cranky and too much "The original is the best. Everything else is crap!" I could have watched the whole thing the next night but I didn't. When Musical Mondays came up I saw it as my chance to finally give the movie an honest viewing and make up for the disrespect I gave my niece and the movie. I watched this for the first time last night. When we're done discussing it after next week I'll send my niece the Blu-Ray. Thanks everyone for giving me the chance to redeem myself!

Well, darn it. I need to come up with another choice quick! They aren't going to like my selection of Reservoir Dogs for K-Billy's Sounds of the Seventies.

Depends on how you do it.

That will teach me to make jokes in a crowd of cinephiles. I didn't pick it Cameron but I think I may have to in a future go-round. I'm happy with my current pick.

I ran my ideas by Cameron H. Luckily he shot down my initial selection of An American Tail. One song does not a musical make.

I apologize for the tone of my post. I didn't mean it as bluntly as it sounded. I was just going to say I even debated posting because I'm not sure it qualifies as a musical. I don't remember any "prop" songs from the show except perhaps Old Man River. (Thanks to whoever posted that screen vs. stage article about Cabaret for teaching me the term "prop songs".)

So I finally watched Cabaret last night. I'm so glad all of you are here because I missed most of the subtleties everyone brought up. Even on the second watching I didn't get 1/10 of what the filmakers intended. I saw Sally as someone who always had to have "drama" in her life. (Drama isn't the word I'm looking for but I can't think of the right word.) She takes the "May you live in interesting times" proverb literally. If she is bored she stirs things up. She pushed things with Brian because he wasn't moving fast enough (or at all) with her. As she said she definitely couldn't see herself cooped up in a little cottage playing nursemaid and dutiful housewife. She needed to be the center of attention. It also seemed like she was afraid of succeeding,. I don't think she even wanted to carry the baby to term and give it up for adoption out of fear she'd like being a mother. That would seem to be, as others have said, why she chose the cabaret. She was a star there and that was easier than making an actual effort where the results were unknown. Brian I saw as trying whatever was put in front of him. If Max hadn't been so charismatic and as forceful as Sally I don't think Brian would have discovered that part of himself. I agree with Taylor Anne that I would have preferred to see a threesome rather than Brian putting the brakes on everything. In that absence I would have rather seen Brian and Max together at some point instead of it being lobbed in the middle of an argument. The only time we see Brian and Max alone is in the beer garden the Nazis take over. Maybe that's my issue with the movie overall. Everything significant was brought in as a side issue to something else. It blunted the impact. I admit I still don't get the MC's character. The nearest I could tell is he was very like Sally, staying at the cabaret and changing the songs to match the encroaching Nazi influence. I also have to wonder at his relationship with Sally given the "flashback" where he openly groped her chest just before going onstage. It seems to me that he actually runs the Klub and probably had a casting couch when Sally came to town. He certainly seems to be more in charge than the bouncer/manager who was beaten. That he was all sneers and leers until the end still makes no sense to me. The end is where the contributions of this group helped me watch the movie. I finally understood the "Are your troubles forgotten? I thought so." and then the reprise of the opening lines. I was going to ask the forum how they knew the club was full of Nazis at the end but then the movie answered that beautifully. I like contrasting the Nazis in Cabaret with Casablanca. In Casablanca the Nazis are there but stand off a little. They are seated in the back where they can see and be seen but not directly affect things without wading through crowds. At the end of Cabaret they occupy all of the first few rows of the club. Is their less forcefulness in Casablanca due to being in non-native land? They were certainly willing to push themselves around in Berlin. I would have thought they'd have even more of a forceful hand in occupied territories. All in all, I'm glad for the pick and that I got to see this again. I'm sure I will watch it more in the future now that I can understand it better. The first time I saw it I was just shocked by it all. Thanks to everyone here I can appreciate what went into it.

Show Boat is definitely a movie. http://m.imdb.com/title/tt0044030/?ref=m_nv_sr_3

If you like Toecutter you like Immortan Joe. And vice versa... :-)

FTFY

If it was spelled with the other variant, liquorice, maybe we'd all like it better. https://en.wikipedia.org/wiki/Liquorice

Oddly enough I HAVE seen Cabaret, both the movie and stage musical. (I haven't seen All That Jazz though. ). Quick story about the stage version: In New York it was playing in the old Studio 54 club space. Right around the stage were the small tables just big enough for a drink and three or four chairs at each table. Being by myself I got a seat right by the stage. As the dancers came out to stretch one was laying on her back on the stage right in front of me. She looked right at me and said "Do you want me to warm you up?" I'm like "Sure!" She said "A hundred bucks." I made the excuse of needing to go to the ATM and demurred. How I wished I'd had pocket money that day!

I loved the original cast recording (Broadway I think? with the brown and yellow cover) and saw a University of Michigan stage production. I've never seen the movie so I'm looking forward to this. I have heard enough good things about it that this probably would be considered Norman Jewison's masterwork if he hadn't made Fiddler on the Roof.

I apologize for not being in here a lot but am working on it. I just wanted to say to CakeBug Tranch: NAILED IT! (Too soon?)