Goodbye to Berlin

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Izzo 2005, p.144: "Sally's attractiveness is also diminished by two anti-Semitic remarks she makes, which are omitted in all the postwar adaptations". Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world.

Goodbye to Berlin - Wikipedia

Spender, Stephen (30 October 1977). "Life Wasn't a Cabaret". The New York Times. New York City. p.198 . Retrieved 4 March 2021. She had a surprisingly deep, husky voice. She sang badly, [c] without any expression, her hands hanging down at her sides—yet her performance was, in its own way, effective because of her startling appearance and her air of not caring a curse of what people thought of her." [29] Izzo 2005, p.144: "Isherwood himself admitted that he named the character of [Sally Bowles] for Paul Bowles, whose 'looks' he liked." The Berlin Stories study guide contains a biography of Christopher Isherwood, literature essays, quiz questions, major themes, characters, and a full summary and analysis. She was dark enough to be Fritz’s sister. Her face was long and thin, powdered dead white. She had very large brown eyes which should have been darker, to match her hair and the pencil she used for her eyebrows… She was really beautiful, with her little dark head, big eyes and finely arched nose – and so absurdly conscious of all these features.Spender, Stephen (September 1974). "On Being a Ghost in Isherwood's Berlin". Mademoiselle. No.79. New York City. pp.138–139. Norton, Ingrid (1 July 2010). "Year with Short Novels: Breakfast at Sally Bowles". Open Letters Monthly. Archived from the original on 7 April 2018 . Retrieved 2 July 2018. They are waiting for the results of a referendum about the government. Christopher looks around at all these people and thinks they’re doomed. Peter Parker notes that Ross "claimed that Isherwood 'grossly underrated' her singing abilities, but her family agreed that this was one aspect of Sally Bowles that Isherwood got absolutely right". [23]

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Farina, William (2013). "Christopher Isherwood, Reporting from Berlin". The German Cabaret Legacy in American Popular Music. London: McFarland & Company. ISBN 978-0-7864-6863-8– via Google Books. For her performance as Sally in the film, Liza Minnelli reinterpreted the character and—at the explicit suggestion of her father stage director Vincente Minnelli—she deliberately imitated film actress Louise Brooks, a flapper icon and sex symbol of the Jazz Age. [56] Minnelli later recalled:Peter Parker notes that Ross "claimed that Isherwood 'grossly underrated' her singing abilities, but her family agreed that this was one aspect of Sally Bowles that Isherwood got absolutely right". [28] Hutchings, Stephen, ed. (2008). Russia and its Other(s) on Film: Screening Intercultural Dialogue. New York City: Palgrave Macmillan. p.122. ISBN 978-1-281-97598-0– via Google Books. Isherwood 1976, p.63: "Jean moved into a room in the Nollendorfstrasse flat after she met Christopher, early in 1931". Firchow, Peter Edgerly (2008). Strange Meetings: Anglo-German Literary Encounters from 1910 to 1960. Washington, D.C.: Catholic University of America Press. ISBN 978-0-8132-1533-4– via Google Books.