Introduction: Sally Bowles in Berlin Stories and Cabaret
Sally Bowles in Berlin Stories and Cabaret is one of the most memorable characters Christopher Isherwood presents in his Berlin Stories. She is based on a real woman with whom Isherwood spent time in Berlin. However, Sally Bowles in the stories and the movie differs in several ways.
In the novel, Sally Bowles is an English girl of just nineteen, portrayed by Isherwood as the daughter of a mill owner from Lancashire. She arrives in Berlin to enjoy life and becomes friends with the narrator. Unlike the movie, in the stories, she is not portrayed as having any talent for Cabaret. Instead, her charm wins her a position wherever she goes, complemented by her wit and beauty. She cleverly uses her wit on both Fritz and Isherwood.
Observing through the lens of a camera, Christopher sees that she is a great actress in theatrical performance. Sally exhibits unusual survival qualities during the last phase of the novel, owing to her charm. Despite lacking significant talent, she consistently succeeds in solo performances at the Kit Kat Club. This success is attributed to having something “French in her” from her mother, who is French. In short, although a marginal character, Sally Bowles captures readers’ attention with her distinctive features of face and mind.
Differences: Sally Bowles in Berlin Stories and Cabaret
However, Sally Bowles in Cabaret differs slightly from the same character in Berlin Stories. In the stories, Sally Bowles is portrayed as a British girl, but in the movie, she undergoes Americanization, influenced by Liza Minnelli’s character portrayal. Minnelli was selected to play the role, and the character was Americanized to perfectly deliver the dialogues, which, in Sally’s case, were originally in a British accent, as her German was her own.
The second notable difference lies in Sally’s singing ability. In the stories, Sally does not sing well; her voice lacks melody, and she relies on her charm and beauty. However, in Cabaret, Sally is depicted as not only highly beautiful and charming but also gifted with the artistic quality of singing. This adds a prominent dimension to her character, surpassing her portrayal in the stories. Furthermore, some of the songs she performs in Cabaret have been altered, showcasing her as a flawless cabaret artist in the movie. In essence, despite imperfections in her character in the book, the movie Cabaret immortalizes her fictional persona through Minnelli’s portrayal.
“Real-life” Events: Sally Bowles in Berlin Stories and Cabaret
While watching the stage and movie adaptations in quick succession highlights significant differences, there are inherent limits on the stage in portraying thematic events. These limitations contribute to variations in characters, songs, and even events, stemming from the freedom actors enjoy in movie shots.
One notable distinction is the alteration of several songs to suit cinematic requirements. The inclusion of more erotic scenes, depicting the steamy side of life, particularly in the portrayal of Sally Bowles, adds intrigue to the movie and enhances its realism. Sally Bowles’ artistic rendering, especially when singing in the club amidst the Nazi-dominated external environment, leaves a profound mark on the politico-social circumstances of the city. Songs like “Mein Herr” and “I Don’t Care Much” further amplify this dimension, offering a different perspective on the prevailing situation in the outside world. These changes contribute to a more nuanced and multidimensional portrayal of the narrative in the cinematic adaptation.
Furthermore, the coherence of characters like Sally Bowles, Brian, and Emcee is notable, maintaining their closeness in both versions. Two key plotlines, the love affairs of Fritz and Natalia and Maximilian and Sally’s adventure, add zest to both the movie and play. The stage introduces two additional subplots involving Ludwig and Cliff, as well as the love story of Schneider and Schultz, differing from the movie version.
In the film, the challenges faced by Schultz and Schneider differ, creating a potential source of confusion with the stage version, where the troubles involve Natalia and Fritz. This discrepancy may occasionally pose challenges for the audience.
Another distinction lies in the presentation of songs. In the movie, songs unfold rapidly with a realistic portrayal of characters and performers, while on stage, they appear choreographed. The characters in the movie are presented as more impressive, amplifying the severity of the external situation compared to the stage show. Additionally, some characters are portrayed with a more optimistic future, like Sally, which contrasts with the less confident depictions in the book and stage, possibly leading to an exaggerated portrayal. This might contribute to the movie feeling more realistic than the stage show, with the impact of characters and performances on thematic rendering being more acute and sharp.
These differences and commonalities in songs and characters sometimes create confusion about the overall impacts of the thematic strands in the story, but they seem to be essential for stage and movie, which are separate genres. The requirements for each change according to the demand of the situation.
Works Cited: Sally Bowles in Berlin Stories and Cabaret.
- Garebian, Keith. The making of Cabaret. Oxford University Press, 2011.
- Isherwood, Christopher. The Berlin Stories. Vol. 1120. New Directions Publishing, 2008.
Relevant Questions about Sally Bowles in Berlin Stories and Cabaret
- How does Sally Bowles’ character in Berlin Stories and Cabaret evolve or change throughout the narratives, and what factors from both works contribute to these changes?
- In Cabaret, Sally Bowles in Berlin Stories and Cabaret is portrayed as a quintessential figure of the vibrant and decadent Berlin nightlife. How do her lifestyle and choices reflect the broader societal changes and tensions in Berlin during that time, as depicted in both Berlin Stories and Cabaret?
- The character of Sally Bowles in Berlin Stories and Cabaret is often associated with the theme of escapism. How does she utilize various forms of escapism in both Berlin Stories and Cabaret, and what do these choices reveal about her character and the historical context of the stories?
