Of course, the depiction of Cabaret's "Kit Kat Club" deserves attention all by itself.
While Minelli can't help being extravagant all the time, she turns out to be a fragile woman neglected by her father, and in demand of constant and renewed attention.
As predicted in her song, she proves basically unable to engage in any serious relationship, despite her involvement with Michael York ( "And though I used to care, I need the open air, you'd every cause to doubt me Mein Herr").
Michael York's sober performance looks a bit pale as opposed to histrionic Liza Minelli, but of course, that was necessary in order to stress the essential difference between those two strangers.
The movie ends as they part on a railway platform, but one can guess their experience together will have changed them both, as as far as he is concerned, was a definite coming of age.
A serious upper class young man, he meets Liza Minelli out of blind chance, while looking for an apartment to share.
She introduces him to all sorts of people, from riff-raff to aristocracy, including a gigolo, a Jewish heiress, and an ambiguous baron who dismisses them both after having "played" with the two of them.Sally's outward façade is matched by that of the Klub, overseen by the omnipresent Master of Ceremonies.Sally draws Brian into her world, and initially wants him to be one of her many lovers, until she learns that he is a homosexual, albeit a celibate one.He seems to have an obsession with the world of music-hall, which is felt in other movies like "Sweet Charity" and "All that Jazz".In his other movies though, musical performances tend to steal the show almost entirely.One of the scenes, in the middle of the movie, is quite disturbing. A man sings a song called "Tomorrow belongs to me", which starts out nostalgic but gradually turns into an infectious Nazi march as the whole crowd joins him.