ting the audience.
             The two aspects of Liza Minnelli¡s acting in this film that bedazzle me are her comfort on stage and her partnership with the two love interests. Some of her most capturing moments happen on the cabaret stage. Her first number is Mein Herr. The camera catches her in the process of getting ready at the backstage and sees her mouthing the introductory words being announced by the Master of Ceremony, played by Joel Grey. When Sally Bowles does appear on stage, she is all smiles and all pumped to go, gliding across the stage. None of the rigid-knees or any other trace of stage fright applied to her. She takes in the music and lets herself be carried away. She must desire to be seen and believe in her presence to carry that off. There are numbers in which she has no prop, but still knows what to do with her hands. In her number with Joel Grey, Money Makes the World Go Around, by engaging in eye contacts, paying attention to each other and using the other¡s companionship, their performance is absolutely stunning and hilarious. Liza Minnelli on stage is fun, for herself and for the audience. When she sings Life is a Cabaret, she clearly employs the in-the-moment tactic, taking her time to disclose the words as if singing it for the first time. All these charming performance bag of tricks are easily transferable to her acting in front of the camera. Off the cabaret stage, Minnelli as Bowles finds her ease in motion an
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