pher Isherwood's Goodbye to Berlin (1939) and a stage and screen version of the novella (both entitled I Am a Camera).
             Cabaret was considered by many to represent a new direction in film musicals. Although stunningly visualized by director Bob Fosse, it is not so much Cabaret 's technique that distinguishes it as its content. Taking a woman of doubtful reputation for its heroine, exploring a bisexual love triangle, and setting this private decadence against the p
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