CAROLINE NIN. Cont'd.
Et Dieu Créa La Femme!... Et Dieu Créa Caroline Nin...
YOU HAVE TO ADORE THE SCENT OF A WOMAN TO UNDERSTAND CABARET
You have to be, part preacher and part hustler, part prostitute and part saint, part selfish and part martyr, part coward and part hero, part gigolo and part generous to a default, part sunk in troubles, fear and sufferings and part larger than life, part realistic and part dreamer, part connoisseur of "L'Heure Bleue", "Jacomo", "Christian Dior", Madame de Pompadour and part "one of those" whom Victor Hugo wrote about in his "Les Misérables", and those whom their dreams dissipate at each sunrise...those with a big heart who never made it in life....yet, they had plenty to give...This is what the great Caroline Nin so eloquently, so truthfully and so warmly describes, depicts and brings to life in her superb Cabaret repertoire.
This is the parallel world, part joyful and part sorrowful of Caroline Nin. It is not cinema. It is not a spectacle. It is real. The world of the human race in its grandiose allure, sarcasm, selfishness, bitter arrogance, majesty, beauty, scandals, affairs, music, passion, prostitutes, eroticism, love for sale, pleasures of the night, poets, self-proclaimed philosophers and Messiahs, forgotten women and lovers in dusty inns which only exist between two horizons, the harbors lights of cheap inns and what's left from the memory of a drunken but loving sailor...Caroline Nin's music and voice depict that world, a parallel world, a real world we dare only to visit or remember, visualize, rejoice and accept only on stage... A magical, delightful and alarming world to relive and bring back to life, only, on stage through the intellectual and erotic whispers of Caroline Nin and her mesmerizing persona. And Caroline Nin took care of that. Her superb, enchanting yet warning voice is the echo of one thousands images and memories. This why and how, Nin could bring back to life, to us, on stage and beyond it, the emotional, social, intellectual, phantasmagoric and pragmatic episodes of a vanished era; the Berlin and Paris Cabaret era and all the characters, the colorful personalities, the myths, the controversies, the affairs, the poverty and the glamour which crafted the fabric of that vanished and nostalgic era.
She is the singer-prophetess, "La Femme Fatale", the priestess and loving naive, brutal and generous woman of Pigalle of that magical world. She has been compared to Marlene Dietrich and other icons. Caroline Nin does not need such allegoric comparisons, for she has created her own persona, her own style, her own signature; a strong presence on stage, a mesmerizing theatrical personification, a pulverizing, tender and bursting voice, an allure of finesse, elegance and troubling human tragedy, an unsurpassed talent nourished with a captivating half divine half human scent, a cleverly selected repertoire, a ritzy feminine approach to life on stage, an intellectual mockery of destiny and life, and a pragmatic look at the real aspect, opportunities, comedia and melodrama, successes and failures in life.