Nobody swears or runs around indecently dressed or commits adultery. In short, this film should offend nobody. Both of them want you to know how awful the Nazis were. But it is the contrasts of these two works that is most illuminating. The most obvious contrast is in outward style.
Characters cavort and carouse and explode into brawls.
Thus, the first contrast between these two productions, from Julie Andrew's convent to Sally Bowles' Kit Kat Klub, is shocking. The audience is enraptured by the strength and sense of purpose expressed in the song, particularly in contrast to the brazen physical obscenity of the previous scenes. A few scenes later, at a wedding, a similar group gathers to sing the same song. As they sing, a few Nazi arm-bands appear, then more, and more, until the entire chorus, stamping their feet and raising their arms in salute, have become a ferocious mob. They caught them in a web of high-minded visionary ideals and hopes and dreams, exploited the economic and moral collapse of post World War I Germany, and tapped into repressed but still potent nationalist instincts.