Luces de variedad

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.

If you enjoy Fellini's earlier films, Nights of Cabiria and La Strada, specifically, Variety Lights will please you. A sweet-hearted film not much in the vain of Italian Neorealism (Nights of Cabiria and La Strada were more like the neorealistic classics), but more like the poetic realism of 1930s French cinema, Variety lights is straightforward, unlike Fellini's later films, for instance, La Dolce Vita, and very enjoyable. It never impresses as deeply as most of Fellini's masterpiece, but, hey, it was his earliest directorial effort. You also have to see it, Fellini lovers, for Giulietta Masina's supporting role; it gives you a hint of her later masterful roles. 8/10

Master storyteller Fellini tried out his directing chops for the first time with ‘Luci del Varieta'. Creating a memorable cast of characters and memorable situations along the way, I think it's safe to say it was a very good first effort. Checco (Peppino De Filippo) is a frustrating man that thinks with everything except his head. An optimist first, the realities of his intentions are just short of ridiculous. Overall, Fellini handles the film with such a delicate humor, the actors are provided with every opportunity to flesh out their characters and make each one very unique. A simple story told well by the man who would go on to telling amazing stories. Rating: 28/40

Good first effort from Fellini exemplifying the lust for love in both partner & work.

What starts off for around the first /25 minutes seeming like it could be a, well, Neo-Realist Showgirls, with in place of a gaudy Vegas show a ragtag bunch of traveling end-of-the-line Vaudeville performers and the Elizabeth Berkley here a doe-eyed young woman named Liliana who sees a performance one night and looks to join up and do anything she can - maybe looking to usurp the Gina Gershon star of the show (here a fiery and beautiful Giulietta Masina as Melina) soon turns much more into Fellini's riff on the Blue Angel. Both of these "this reminds me of" is largely meant as sincere compliments; Variety Lights is a mostly sad, bittersweet comedy of the bad times that come when ambition and the ideals of something greater take over and poison the good-will well for a tight knit group.

But even here the comparisons stop superficially; already here, and I don't know how much or little Latuada contributed as director of if it was a total collaboration, Fellini's "I love them, despite everything, even to an extent the selfish Antonelli" attention and embrace of the Low-Rent Performer and the ideal of what the crowd does to someone in general makes for come captivating viewing. I thought at first the male lead was too one note to latch on to, that he would be only a gruff uptight dickweed, but he deepened as the story got him into more desperate straits and his world turns him into a vulnerable puddle.

There are hints of what may come some day with the more Fellini Unchained productions, like a dinner party that features about forty five absorbingly disgusting seconds of the troupe eating a big dinner with the mastication on another wild plane of existence (the only time this was done without it being obnoxious in a film was The Dark Crystal, and that was because they were Muppets, ok as good a digression ill make this week), and dancing and interactions that feel so much like what we've seen so often in Fellini's films that he knew what he wanted from the beginning as far as freewheeling party sequences. But Variety Lights is a film that is richest as a melodrama that gives a wealth of its time to showing these faces, of the performers in action, the crowd as they know what they don't want and get enthralled by cheap thrills (there goes her skirt!) It's also a kind of absurd tragedy of ego and losing oneself in more misplsced ego.

In other words, a very good start to one career, and a nice little discovery at the same time by the director of Mafioso.