MovieChat Forums > Cabaret (1972) Discussion > Joel Gray as the master of ceremonies

Joel Gray as the master of ceremonies


I was always creeped out by him in this movie. I know the stage makeup and campy behaviour is part of stage craft at that time. It owes a lot to vaudeville and other such entertainment.

Maybe it's the scary clown aspect, or picking up on Joels effeminate mannerisms. I'm not sure. The MC is a broad winking, all knowing, double entendre spewing menace with a grin on his face.

Any one else feel this way???

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He always reminds me of a wooden ventriloquist's dummy...very creepy. But I still love him in this!

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POSSIBLE SPOILER

He did a great job. The only mistake I saw was at the end where he comes up from behind Sally and grabs her. The scene was unnecessary, creepy and didn't fit the fun-loving character he had been portraying throughout the movie. It just had no place in the movie, had no point and served no purpose that I could see.

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Maybe that was to put the creep factor in.
Wasn't that part of the movie getting darker with the Nazis?

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I can't remember, which scene was that? Which song?

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It's close to the end of the movie.

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It doesn't precede a song; it's during the montage that occurs as Sally is reconsidering her commitment to Brian and the baby, just before she has the abortion.

One of the recurring devices Fosse and screenwriter Jay Presson Allen employ is that of contrasts: that between scholarly Brian's reserve and frivolous Sally's "shocking" moral ambivalence; between Brian and pampered, unconcerned nobleman Maximilian; between love-struck, impoverished Fritz and wealthy but cautious Natalia; between the political views of the Schneiders' boarders.

These are all microcosmic representations of the larger societal contrast serving as the central backdrop to all the stories: that of the obliviousness of the waning Weimar Republic to the growing threat of the Nazis, visually and thematically depicted in the carefree atmosphere within the Kit Kat Club, with its satirization of what's happening just outside its doors and encapsulated in the MC's opening monologue - "Life is disappointing? Forget it! In here, life is beautiful" - which is bookended by Sally's closing rendition of the title song.

That rapid montage illustrates Sally's internal conflict by sharply focusing the contrasts between the life Brian has proposed and the one Sally's been living, which itself represents another contrast: between fantasy and reality. On the one hand, we have Sally's grand ambitions and the frivolity of the Kit Kat show; on the other, the desperation of those unlikely ambitions and the backstage sordidness of the club, where the MC's blasé lechery is as earnest off stage as it is amusingly harmless on.

Inasmuch as it's only a brief moment within that montage, this explanation isn't meant to give undue weight to a single gesture, but merely to illustrate how it's one of many strands woven into a larger tapestry.



Poe! You are...avenged!

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Doghouse-6...what a great post! That montage was a "sum it all up" for me right before Sally sings the showstopper...and in this movie when the Master of Ceremonies gives a fine-adieu to the audience...it is brilliant to show what's happening.

When I first saw this when I was little, I thought Joel Grey as the Masters of Ceremonies was...a puppet for the devil...he was so interwoven in everything...showing what was what and guiding the audience...



If my answers frighten you then you should cease asking scary questions.

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Thanks for expressing the kind thoughts, and my compliments to your parents for not censoring your entertainment; it seems to have paid off. I can only guess at the age range you mean by "little," but that interpretation of the MC, and perceiving his "Greek chorus" function, is some pretty sophisticated metaphorical conceptualizing for a child.

My parents never imposed any content restrictions on my viewing, although in the late-'50s-early-'60s, there wasn't much that would likely traumatize me. But Mom would always allow me to accompany her to any film she cared to see, and when she thought something therein might have gone over my head, she'd lean over and whisper, "Did you understand that?" If the answer was "No," she'd explain it on the way home.

I remember being seated behind two youngsters of maybe 8 and 10 or thereabouts at Quest For Fire, and during a scene in which a male Neanderthal approaches a female from behind and initiates sex, the younger one asked the older, "What's he doing?" His companion answered, "I think he's trying to make her throw up."

I sort of went off on a tangent here; I do that sometimes. But thanks again for your very nice and thought-provoking reply.



Poe! You are...avenged!

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Thanks... 

I was 70s 'little' ... and if you've read some of my posts and reviews, I was a product of older male siblings who left me alone to watch Creature Double Feature, Chiller in NYC... and read many a Michael Crichton novel at 10 years old (and someday I'll tell you about reading The Exorcist at 12. My parent's weren't THAT liberal!) I also....did a lot of theater starting at 13 years old so you know I was on every movie, every musical before and after that.

I first saw 'Cabaret' at 8 years old on TV, cut. It took me until I was 19 to see it uncut ... and it took a whole different meaning with the uncut parts.

If my answers frighten you then you should cease asking scary questions.

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SPOILER******




I always interpreted the scene with the Emcee behind her as indicating he was ALSO the possible father of her baby. Sally had no idea who it was because of her promiscuity, trying to be discovered with dreams of stardom. It would make sense that they would have gotten together.

But yeah, the Emcee is kind of creepy. I think Joel Grey was perfect.

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scarlettsdad says > I always interpreted the scene with the Emcee behind her as indicating he was ALSO the possible father of her baby.
I just finished watching the movie for the first time and I had the same impression. The emcee was sexually ambiguous but I assumed he and Sally had slept together too. For that crowd sex was either a source of hedonistic pleasure or a means to an end. It didn't matter to them who or what they did it with; or how anyone felt about it. It was just a matter of what they could get out of it.

Also, don't forget, there were many more nameless, faceless men who could possibly have fathered the child; from producers promising parts to club patrons offering drinks and everyone in between. Her body was public property; anyone was welcome in except, of course, her own child – the only with any right to actually be there. Not much has changed apparently; a lot of modern women have the same kind of philosophy.


Woman, man! That's the way it should be Tarzan. [Tarzan and his mate]

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Doghouse-6 says > These are all microcosmic representations of the larger societal contrast serving as the central backdrop to all the stories: that of the obliviousness of the waning Weimar Republic to the growing threat of the Nazis, visually and thematically depicted in the carefree atmosphere within the Kit Kat Club, with its satirization of what's happening just outside its doors and encapsulated in the MC's opening monologue - "Life is disappointing? Forget it! In here, life is beautiful" - which is bookended by Sally's closing rendition of the title song.
I agree with your assessment. I saw things somewhat similarly. That's what made me enjoy watching the movie - the way the story was told. However, I think I read more into what was going on than perhaps you did.

The contrasts were used to make a point. For instance, the contrast between what was going on in the club and what was taking place in the country at the time reveals a lot about how the Nazis were able to grow in strength and power. It also reveals how their atrocities could take place right under the noses of the German people and how they were able, in many cases, to assure their willing and eager participation.

1. The club performers and patrons couldn't care less what was going on. The club was an escape from reality. They could be and do whatever they wanted. They even poked fun at what was happening because they felt isolated and sheltered from it. The closing shot was poignant. Through the haze of the glass we see a lot of unfocused faces but can clearly see the swastika on the uniform of a Nazi. All the singing, dancing, and gaiety could not protect or keep them away from reality; it had found its way inside. There are always segments of the population that focus on their own shallow pursuits; laughing and singing while their country falls apart.

2. People like Maximilian, the rich and privileged, who had money and power largely ignored the growing Nazi threat. They didn't take them seriously. In fact, their attitude was the Nazis were a mere nuisance but could be useful. They'd deal with the Communist then they could easily be swatted away like flies. When that group finally started taking notice, the Nazi movement had spread widely and had become very powerful. The Maximilian types made a quick exit out of the country; fleeing to Argentina and other points in South America.

3. The boarders were quick to accept the propaganda. They were being fed a steady diet of lies about what the Jews had done and planned to do. They were told the Jews held all the power and would use it to fulfill their evil intentions. These types, probably because they lacked education, sophistication, and resources, questioned nothing and assumed what they were hearing must be truthful. It was, after all, coming from different media sources; the same newspapers and radio programs they trusted and from which they had always gotten their news.

4. Also, the attitudes of the club did not reside only in the club. The people who were part of the club took their decadence with them. Much like the Nazis they were behaving in ways that were degrading and destroying society. Sally Bowles for one saw nothing wrong with destroying life in order to achieve her purposes. The Jews and other undesirables, even those that were German, were considered an obstacle. The got in the way of the Nazis world view so without any second thought or remorse, they were exterminated; Sally's ambition caused her to do the same to her own child. Describing it as a 'whim' showed the callousness by which it was done. She was willing to part with her beloved fur coat just as the Nazis were able to sell their very souls.

And that's just one aspect of the movie.


Woman, man! That's the way it should be Tarzan. [Tarzan and his mate]

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cathy-creswell says > I was always creeped out by him in this movie.
I think we're supposed to be creeped out by him. I was. He's an entertainer singing and dancing and is full of merriment but it is literally an act. The shots of him at various points in the movie remind us that what is going on in the name of fun and frivolity is very serious and downright dangerous.

Sally is the same way. To some, like Brian, she may seem like a happy, fun-loving, carefree, do-as-she wishes type of person but it's all an act. She is as phony as they come. She lies about her relationship with her father because the truth is hard to bear. She pretends to be sophisticated, important, and well-connected but all she is a tramp and opportunist who associates with people much like herself. She has grand ambitions though she knows she must use sex to get the attention of producers.

From the moment we meet her, it should be clear she's headed for trouble; a lost soul who surrounds herself with others who are as lost as she is. They're all playing a sick and dangerous game. The emcee reflects all of the same things but in a musical way.


Woman, man! That's the way it should be Tarzan. [Tarzan and his mate]

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