How do the techniques used in Cabaret give us an insight into the characters of the film?

In the seventies hit Cab argont, the director, Bob Fosse, successfully uses a variety of filmmaking techniques to draw attention to distinct aspects of the multifaceted characters. Our cause of the characters is shaped d genius the use of techniques ranging from changes in costume to mise-en-scene.Costuming is one of the most revealing aspects, and we can guide a lot just about the characters by looking at the change state they wear. go is a prime example of this. On stage fracture sports sexy, indicative, revealing attire. She feels that she is divinely indulgent and genuinely is an international unity as the compere claims. This is reflected by the abhorrent, glitzy wear she wears. scissure tries to carry her femme fatale act on into her e rattlingday intent. Her array is different from the mainstream and this is quips attack to be shocking. It shows a certain flamboyance, and authority to wear these distinctive clothes.However, bit by bit we start to see that the glamorous, indulgent Sally is nonhing to a greater extent than a faade tardily which a lots more troubled, insecure person hides. At crisis points in Sallys life, she is exposed physically and emotionally as the femme fatale mask is stripped away. by and by she has had an abortion we see Sally in ordinary clothes. On a prate to her father, the little girl Sally emerges and she dresses ordinarily to please her dad. Sally wears glamorous, revealing clothes when she is in a position where she feels she is glamorous, decadent and so on. In times of creation however, she adopts plain clothes. It is as though her clothing reflects not completely her mood and feelings, only too her grasp on humanity and submission to illusion.Brians costume is also very reflective of his personality. His well pressed, drab treetop and bland garb direct evince him as a prim and proper, customary Briton. As we come to meet Brian we let that this is indeed true. He is reluctant to change , and it takes a while before he accepts clefts sexual advances. Brian undergoes one of the biggest changes when he begins to accept Max. in the lead he fully accepts Max, Brian changes his drab shirt and jacket for a blue sweater, exhibit that he is undergoing change. Until this point Brian has worn approximately exactly the same clothes, juicy punk his hesitation to change. By the time Brian is wanting to espouse a pregnant Sally, he is a different man from the traditional Englishman we met at the beginning. He parades around corroding only a tie, pants and a hat. At the end when he decides to return to England, to his more reserved lifestyle he has also reverted back to his original plain clothes. The changes in his clothes be symbolic of the changes inwardly him.The legion captivates his audience while wearing a smarting suit. This consolidates his status as a powerful figure in floorshow. He knows what will happen in the film, and his god- equal position is reinfor ced by his smart attire. Maxs wealth is evident from his clothing, as are Fritzs money woes from his frayed cuffs. In Cabaret, the clothing closely reflects the temper of the characters.The characters hair and buy off is also of relevance, and often it too changes with their costumes. The emcee wears a large amount of give to accentuate his facial features. His eyebrows are cover in mascara, his face is painted white, he wears vibrant red lipstick and has overly rosy cheeks. He resembles a jest to some extent, or to take it a step further, almost a Shakespearean fool. The emcee plays a role like that of the fool as he dispenses his humourous social commentary. Sallys attempts to dazzle and shock appease on into her hair and makeup. Her unusual rush and hairstyle are sincerely yours unique, her eyes are accentuated and her green nails are almost unmistakeable. Sally wants to attract attention and to appear, as she describes herself , as an International Woman of Mystery. E specially in the club, and also in normal life, Sally believes she is this shocking, fantastic person she so desperately wishes to be. Once again, after she returns from her abortion, she is void of her ebullient makeup and the physical exterior behind which she masquerades is gone. The real Sally is exposed. This occurs too when she goes to chew the fat her father. Sallys makeup is another device she uses to mete out her faade.Fosse uses mise-en-scene to shape our perceptions of the characters. Music and saltation is key to Sallys life and her record fraud is visible in many shots to stress this. Sally is a promiscuous girl, and we are reminded of the centrality of her sexual relationships by the central emplacement of her large bed in her room. at that place is a component of Sally that is truly flamboyant, and this is shown in her room by the heraldic bearing of living plants. Fosse places barriers in the shots amongst Sally and Brian right from the beginning, and these barriers allude to the eventual(prenominal) break-up of their relationship.Fosse uses editing to great tack to communicate parallels and connections between the characters and between events. maven example is when Sally performs Maybe This Time. This straining drops Sallys blas, promiscuous attitude and shows that Sally really does yearn for love. She is not just notification this nervous strain, but she really does hope that by chance this time her relationships will work out. This is shown by the intercutting of scenes screening the development of Sally and Brians new-made intimacy. We understand that this is how Sally feels about Brian. This song is also important in term of the stage dancing. In the other numbers Sally feels sexy and important as she performs her vivacious, revelatory routine to a large audience. In this song, there are no raunchy moves, nor is there much of an audience. We see that sally is not trying to impress anyone with her manifest decadence. There is no need for her suggestive moves, because this is a song in which she is be herself someone who longs for love.When Brian first appears he is immediately connected to the cabaret world with intercutting with scenes of the emcee. The emcees god-like role is reinforced by crosscutting, as shots of him smiling sinisterly are shown after illustrious events have occurred, as if he is reflection I knew that would happen. The political nature of the emcees song, If You Could See Her, and his sympathy to the Jews, is highlighted by the extension of the songs music into the next shot, which shows Fritz having made his decision.tv camera angles are key in showing people as being immobile and in control, or weak and powerless. later her abortion, Sally is shown from a number of high angles, and as we look down on her we get the impression of her powerlessness. In contrast, the emcee is shown from low angles, and he appears at an elevated railway position on the stage. This re affirms the power the emcee possesses, that is the knowledge of what is to come. In Sallys final song, lighting is used to show her changing emotions. She sings that life is a cabaret but is she restore to have moved on from Brian? A close up of her is shown in which as she sings, the spotlight on her progressively increases in warmth. This change in lighting alerts us to the fact that Sally has indeed move herself to the cabaret, and is in fact ready to restart her search for stardom.The techniques used in Cabaret really do give us an insight into the characters of the film. People are presented not only as who they are, but also as who they attempt to be. These techniques allow us to better understand each character, and break us a lot about how theyre feeling, their desires and emotions. Whether it is through the subtle changes in mise-en-scene or through the blatant differences in choreography or costume, Fosses host of film techniques shapes the characters and our understan ding of them.