Cabaret (1972), Bob Fosse. February 1, 7pm. View count: seven or eight, probably. Could be as many as ten.
Helvetica (2007), Gary Hustwit. February 3, 6pm. View count: One.
Cabaret is one of my dear old movies. My dad showed it to me when I was about fourteen, and, like Zardoz, it elicited a lot of confusion. But I realized what the deal was a couple of years later, and although now it's starting to seem a little broad, it's still strong enough to escape that. Its visuals are so German Expressionist (a movement I have a lot of love for) that even without the obvious references (the Dix painting recreated, the mylar reflections breaking up figures into brushstroke-like fragments) you can see the derivation in all the unsettling closeups and over-bright makeup, not to mention the color palette.
Liza Minelli is cast in a most ideal way, as a pathologically shallow club singer. Her character is horrible, and more of a drag queen than the actual drag queen in the movie, but she does her job.
The early 70s-style editing is wonderful, even apart from the thematic juxtapositions which are more obvious (but still pleasing); things are elided ruthlessly. Abrupt cuts away from things we already understand save the pacing and are so stylistically fun.
(arbitrary note: 'Money' was the first 'snappy patter' sort of song that I ever memorized. I still have it by heart. I think I audiotaped it off the television while watching Cabaret on video once.)
Helvetica was a fun thing, but I had hoped for more of an in-depth piece on the mechanics of Helvetica's creation. Instead it was more cultural, which was not uninteresting, but so, so subjective and even a little flaky in some instances. I enjoyed hearing respected designers' opinions of it, but the overall effect was a bit fluffy and information-free. I would have tried to show the environment Helvetica was created in/for in more depth; this was discussed, but only verbally, and not extensively.
This did, however, make me want to make some business cards.