rodrig58
Very good after so many years, like an old good wine. Probably the best role of Peppino De Filippo. A beneficial "workout" for a very young Giulietta Masina, before becoming Gelsomina in "La Strada" and Maria 'Cabiria' Ceccarelli in "The Nights of Cabiria", directed by the same huge Fellini. For Fellini, is the first film he directs, together with Alberto Lattuada. The beautiful Carla Del Poggio, Lattuada's wife in real life, stands in the role Liliana 'Lily' Antonelli. All the actors, although not big names of the Italian cinema, are very talented. The music is not signed yet by Nino Rota, but by Felice Lattuada. A very good film, to be seen at any time, again and again. Watch for a very young Vittorio Caprioli in the role of The Night Club Comic.
TheLittleSongbird
Lights of Variety is not one of Fellini's(co-directing with Alberto Lattuada) best, there is a slight sense that he was yet to find his feet and style, which was understandable considering that it was his first film. This said, he does delight in revealing human faces behind social masks while breaking with the neorealist tradition of the location of characters within the environment they're in. So there are some interesting touches without falling into self-indulgence yet not as ambitious as some of his middling efforts. The story is a simple one detailing love and desire within show-business but told very movingly, while Lights of Variety is also beautifully filmed, powerfully written and scored with bright exuberance. The characters are not detached yet are identifiable(if not so much as Ginger and Fred, La Strada and Nights of Cabiria) and you do relate to their plights. Peppino De Filippo, Carla Del Poggio and Giulietta Masina give top notch performances. All in all, a strong debut from Fellini even if he went on to even better things. 8/10 Bethany Cox
rzajac
I just saw this for the first time, after sampling much of Fellini's later work over many years.The most surprising thing to me was the sense that Variety Lights (VL) foreshadows Fellini's later "indulgent" work. Here, he bathes the viewer with genuinely warm, almost disconnected bits of life in all its spendor. The fine editing makes it all work; I laughed and sighed out loud through much of this movie, and the first 10 minutes hooked me. A little later in his career, Fellini (with help from other fine story people) showcased straight-up storytelling in La Strada and Cabiria. Subsequent to that, he began exploring "story space" in alinear, character-focused ways, from La Dolce Vita and beyond.The point of all of this is to express my surprise that Fellini appears to have ended his career somewhat as he started it. VL is almost a "throwback" to the directions he took later in abandoning more traditional storytelling methods. Maybe it'd be better to put it this way: When he began diverging from a more conventional narrative style, he was actually taking a step *back* to the style we see in VL. A very good comparison is against his "Fred and Ginger," which explores story space in a studiedly chaotic way, then bowls you over by tying things together with a profoundly touching moment at the end. In "Fred and Ginger," Fellini gracefully brings together his old and new styles. In VL, he seems to bring these together before the new even happened!The tremendous abilities of the actors and actresses are delightful in VL. Something conspicuous in post 8-1/2 Fellini is the purposeful lack of traditional acting craft; Fellini talked about this repeatedly in interviews. In VL (as in La Strada and Cabiria), Fellini shows that he was perfectly capable of directing actors who are plying their skills.Because VL seems to cover the strengths of most of Fellini's career, it is a very fine example of the best he could do. Check it out.
jhclues
A young woman pursuing her dream of being on the stage, aligns herself with a traveling variety show band of performers in `Variety Lights,' directed by Federico Fellini (and assisted by Alberto Lattuada). Veteran comic actor Checco Dal Monte (Peppino De Filippo) and his troupe of performers are struggling to get by, living from hand to mouth and show to show, but it doesn't deter Liliana Antonelli (Carla Del Poggio), blinded perhaps by the stars in her eyes, from approaching Checco about joining his show. He turns her down-- they simply have no openings, and certainly no money-- but circumstances soon prevail on her behalf, and much to the chagrin of many of the other performers, she joins the troupe. The effect she will have on the show, and how it will influence her own life, remains to be seen at this point; but with Fellini at the helm, you know it's going to be an interesting ride. And it is. Fellini, a true visionary, is known for filling the screen with vivid images born of his own imagination, especially in his later films. But beyond the sometimes bizarre appearances, there is always an engaging story to be found at the heart of his films, and this one (his first) is no exception. And, though devoid of the surrealism he would use later on, in Checco's company there is something of the carnival motif present that Fellini would return to time and again during the course of his career, and of course, there's the story, presented with that unique Fellini touch and laced with his insight into the human condition, which at it's core is the real strength of the film. No matter what the subject matter, Fellini always had his finger on the emotional pulse of the material and had the innate ability to transfer what he felt to the screen. Very simply, he knew what worked and how to use it; within the images he presents, there can always be found a reflection of reality-- even amid the surreal-- and it's in his characters. Physically and emotionally, these are real people who run the entire gamut of human existence. Beyond his astounding visuals, it's his ability to cultivate that depth of his characters that makes Fellini special; the way they interact with, and relate to one another or the situations in which they find themselves. And by drawing out his actors, he always gives his audience someone with whom to identify on one level or another. As Checco, Filippo successfully taps into the humanity of the character, this aging performer with hopes and aspirations beyond his means or capabilities. He's a character with whom you can sympathize, but only to a point-- for you soon recognize his flaws and transgressions. But even then, you are still able to at least understand him. Most importantly, his performance is believable, and his Checco comes across as a very real person. Del Poggio gives a notable performance as well, as this young woman who makes the most of the opportunity with which she is presented. And as the story unfolds she develops her character extremely well; by the end of the film you know exactly who `Lily' is and what motivates her. In a memorable supporting role, it's the young Giulietta Masina, however, who steals the show as Melina Amour, Checco's girlfriend. She creates the one character in the film with whom you can truly empathize, and she does it with style. Masina has such a radiant, charismatic screen presence, that whenever she appears the eye is instinctively drawn to her. A gifted actress, she is exceptionally adept at expressing her emotions-- often by merely shifting her eyes-- and communicating with the audience. Few actors can say more or convey as much with their eyes or with a simple expression as Masina. And, sparse as it is, her performance here is alone worth the price of admission. The supporting cast includes Folco Lulli (Adelmo), John Kitzmiller (Johnny), Dante Maggio (Remo), Carlo Romano (Enzo) and Gina Mascetti (Valeria del Sole). Well crafted and delivered, `Variety Lights' is an engaging story, told in the same straightforward manner Fellini would later use in `La Strada' and `Nights of Cabiria.' The basic elements of the story may be familiar, but it's an entertaining film, and worth seeing, as it prophesies the triumphs of an artist who would soon be recognized as one of the world's master filmmakers: Fellini. I rate this one 7/10.
