The Godfather celebrates its fiftieth anniversary with special screenings nationwide. You won’t find a lot of “all-time greatest” film lists that don’t cite Francis Ford Coppola’s masterwork, and both The Godfather and its sequel are popular choices for the top slot. Although The Godfather was just as much of a cultural phenomenon during its initial release as it is now, there was a surprising upset during the 1973 Academy Awards ceremony that still has Oscar pundits scratching their heads.

The Godfather expectedly took home the prizes for Best Picture, Best Actor for Marlon Brando, and Best Adapted Screenplay for both Coppola and original author Mario Puzo. However, Coppola did not get to come up on stage again to accept a Best Director trophy. That honor fell to the acclaimed stage choreographer Bob Fosse, who accepted the Best Director award for his film adaptation of the musical Cabaret.

RELATED: 15 Best Songs That Didn't Win the Oscar

cabaret-joel-gray
Image via ABC Studios

It's easy to look back at this seeming discrepancy in hindsight and simply mock the Oscars for getting it wrong, but Fosse’s win is not without merit. A bold and cunning storyteller, Fosse’s filmography of directorial credits includes such notable work as All That Jazz, Lenny, and Sweet Charity. Cabaret in particular was an ambitious endeavor, as the 1966 Broadway musical was already an acclaimed work in its own right. Whether Cabaret deserved to win over The Godfather is still a debate worth having, but it would be impossible to dismiss Fosse’s efforts entirely.

Cabaret explores a critical period within the 1930s where the Nazi Party begins to sow tensions that would lead to a rise of fascism. In the tense pre-World War II period, a variety of Berlin’s scoundrels, travelers, performers, and refugees gather at the eccentric Kit Kat Klub. The aspiring American singer Sally Bowles (Liza Minnelli) performs with the hope of “making it” someday. She’s grown into one of the most popular stage acts, and a favorite of the Master of Ceremonies (Joel Grey). In addition to Fosse, Minnelli and Grey took home the Academy Awards for Best Actress and Best Supporting Actor, respectively.

Sally’s life changes when the British scholar Brian Roberts (Michael York) visits the nightclub and becomes entranced by her performance. Brian ends up moving into the same communal home where Sally lives, and decides he can earn a little side money by teaching her to read and write proper English literature. Sally attempts to seduce him, and Fosse contrasts their tender relationship against the coming storm of World War II. The characters both know that they have little time left, and any moment could be their last; history teaches us this was true of Berlin itself too.

cabaret
Image via Allied Artists

Fosse shows how the threat of hate speech and the rise of systematic oppression can overtake a nation, but the overwhelming majority of Cabaret takes place within the intimate location of the Kit Kat Klub. While it doesn’t have the epic scale and scope of The Godfather, Cabaret offers a prism of an entire nation’s overhaul through the figures and events within the secluded club. It plays out like a living document of history, unfolding at a meticulous, yet gradual pace. Tension rises as the film edges closer towards pivotal historical events, yet Fosse never sacrifices the emotional weight of the central romance.

While part of this fascinating approach to history can be attributed to the original work of genius by Kander and Ebb, the brilliant songwriting debut behind the 1966 musical, Fosse made the approach effective on screen. Certain elements that would have played better in a theater are altered for the film. In a stage show, actors must perform in order to reach those in the back row, and so the emotional beats are played slightly broader. Fosse leans into a more subtle side, which fits the characters in particular. Sally is no straight laced character, and she’s not particularly sentimental; Brian is a stiff gentleman who isn’t entirely sure how to express his emotions. Both are struggling with their temptations, and Fosse leaves many of their feelings unspoken.

Fosse was instrumental in the stage show as well, and he brings the brilliant musical numbers to life with his translations. Due to the scaled back intimacy of his approach, the performances are just as electrifying as they are on stage. Fosse utilizes precious few cutaways, so the viewer can focus entirely on the vocals; there’s no inventive editing to mask inauthentic emotion. However, the moments of transitions that Fosse does include help flesh out the relationships. The sequences of Robert teaching Sally are thoughtful, and often quite funny. Minnelli is allowed to be more personable and quick-witted, and all of her vivid facial expressions dominate the frame.

cabaret liza
Image via Allied Artists

Sally is the defining role of Minnelli’s career, and considering the fact that she’s an EGOT (Emmy, Grammy, Oscar, and Tony winner) who has worked in performing arts for over six decades, that’s certainly saying something. Minnelli’s show stopping number “Maybe This Time” is overwhelming on stage, and Fosse makes it just as effective. He doesn’t risk cheapening the moment with melodrama, and chose rather to insert it in between two new songs: “Mein Herr” and “Money, Money.”

These new additions from Kander and Ebb show the versatility of the Kit Kat Klub and how quickly the emotional state shifts. “Money, Money” is particularly amusing, and sees Sally and the Master of Ceremonies bouncing off of each other’s energy. Fosse also gives Grey more room to lean into his similarly defining role, but he retains his enigmatic quality. The Master of Ceremonies never breaks character, and he’s just as elusive as his enduring persona.

It's unfortunate that due to the way that awards races are remembered, many great films suffer from the reputation of being labeled “upsets.” How Green Was My Valley will always be remembered as the film that stole Best Picture from Citizen Kane, Ordinary People’s merits are overshadowed by its victory over Raging Bull, and even Rocky’s win comes at the price of Taxi Driver, All The President’s Men, and Network. The Best Director race of 1973 shouldn’t be remembered as an infuriating oddity, but rather celebrated for featuring two geniuses at the top of their craft.