Liza was PERFECT!!!!

Indeed, jschillig and puirt-a-beul, this is a criticism that has been levelled at this film since its release, and there's validity to it. But perhaps the dichotomy between the professional abilities of Sally and Liza has its own validity, in filmmaking terms.

One can look at it in the same way that one might view any musical of the 30's-40's-50's where, in an otherwise realistic context, characters burst into song and dance anytime, anywhere. The visual realism doesn't change, but the action does; we may still be on a farm in Oklahoma or the streets of Manhattan's lower east side, but the characters' behavior becomes stylized - with elaborate choreography and full orchestral accompaniment.

I think what Fosse was doing was turning that stylistic device on its head, in several ways. He does it visually by shooting the numbers on the Kit-Kat stage in a vivid, hyper-realistic way, with editing and camerawork that are explosive in their energy and force, while the dramatic scenes are shot in a rather gauzy, muted and more leisurely style no doubt meant to evoke not only a past era, but the dreariness of the depression and the coming political "storm." He does it thematically by having the numbers removed from, but commenting on, the story rather than propelling it, with all of them taking place in the only plausibly realistic setting...the Kit-Kat stage itself. And in the same way that we don't have to accept the idea that street gangs literally dance through their neighborhoods in semi-balletic fashion, we also don't necessarily have to view Sally's performances as what would actually be seen by the club's patrons. Those performances are strictly for us, rather than Brian, Fritz or anyone else there, and we're actually stepping out of the story as we view them. In that framework, perhaps we can accept Liza's/Sally's songs for exactly what they are: bravura musical performances (and film making).

Film musicals have always created their own "alternate realities," and Fosse, having put his individual stamp on an assemblage of bits from various sources, I think created his own fresh version of the "alternate reality" concept.

It's only fair to acknowledge the sole exception, "Tomorrow Belongs To Me," which, being an actual part of the plot and not a musical "number" in the same sense as the others, establishes a believable context by taking place in a beer garden - a traditional setting for communal song in Germany - with a small brass band. As such, it's fitting that it's the only musical interlude that doesn't involve any of the principle characters or cabaret performers. Incidentally, I think it's one of the most chilling musical moments ever put on film; the pastoral setting and the angelic face of the singer, contrasted with the increasingly emphatic presentation of the song, with its ominous lyrics and implications is...well, I can only say again: chilling.


Poe! You are...avenged!

Yes. But Liza was the box office draw and kind of had to be good and flashy to get
the movie bankrolled.