Variedades

Wonderful cinematagraphy and cutting influenced other films of the day. The story is old, but made interesting by the acting, sets and location shooting. The trapeze act shots are well worth seeing, though vaudeville and circus fans will be unhappy that there are few other acts shown. However, a 30 or 45 second summary of the variety (vaudeville) show is clever.

The print I saw at New York's Museum of Modern Art did not have the 'prolog' either. Perhaps it was omitted when the film was released in the US.

Among silent film conneisseurs Herr Ewald André Dupont is well-known for a trilogy of films; "Varieté" (1925), "Moulin Rouge" (1928) und "Piccadilly" (1929); they all explore troubled relationships against a background of twenties popular entertainment (music-hall, cabarets, vaudeville). Of these, "Varieté" is certainly the best and Herr Dupont's masterpiece, an excellent film that maintains intact its virtues and cinematic merits after so many years, This Herr Graf revisited it recently and found that it had lost none of its power.

The love story involves Herr "Boss" Huller ( Herr Emil Jannings ) and the seductive orphan Frau Berta-Marie ( Fay Lya de Putti ) Once a famous trapeze artist, "Boss" has been reduced to managing a sordid fairground attraction together with his wife ( Frau Maly Delschaft ). He falls madly in love with Berta-Marie and seeks to start a new life with his lover, leaving his wife and child behind.

The virtuosity in the dramatic use of the camera-work together with film narrative by Herr Dupont is simply great. Through the eyes of "Boss'", Dupont skilfully compares the young and vital Berta-Marie and the faded and worn wife. Later the camera shoots from behind Huller's back to depict a desperate man utterly defeated and broken. The expressive close-ups wherein hidden feelings are made transparent are also superb as is the portrait of the people of Berlin, inhabitants of a decadent but thrilling city. The frenzied nightlife of Weimar Berlin (Wintergarten, Vaudeville Theater, fairgrounds) is vividly captured by the camera-work of Herr Karl Freund und Herr Carl Hoffmann.

The camera-work is especially impressive during the trapeze sequences wherein Herr Dupont, with the aid of optical special effects by Herr Ernst Kunstmann, employs many different camera angles to emphasize the riskiness of the trapeze act and the riskiness of the relationship between "Boss", Berta-Marie and their partner, the famous artist Herr Artinelli ( Herr Warwick Ward ) . The tension builds during the performance because we know that Herr "Boss" has discovered that Berte-Marie and Artinelli have become lovers.

The actors are splendid, specially Herr Jannings who, when properly directed , can express powerfully the most inner and divergent human feelings, Frau Lya de Putti, is no femme fatale type at all but that certainly is the point; she's attractive enough but common, someone easily charmed by a stylish man like Herr Artinelli.

"Varieté" is an exemplary work wherein all the achievements and virtuosity of German cinema of that time are on display. You have Expressionism intertwined with social comment, a fascinating portrait of the times. Dupont's wavers a bit at the end and allows a minor concession which is forgivable and by no means fatal to the film as a whole.

And now, if you'll allow me, I must temporarily take my leave because this German Count must refuse a splendid offer to be a fairground attraction.

As the name already indicates "Variety" is situated in a vaudeville setting. It is about trapeze artists who regularly change partners (both in business and in love). Emil Jannings plays a man who leaves his wife for a younger woman but gets very jealous when he is at risk of receiving the same treatment.

The film portrays the decadence of the roaring twenties in Germany. See for example the scene in which the artists have their own afterparty after the show.

The story however is somewhat flawed. The Emil Jannings character has the possibility to take revenge in a way that looks like an accident. Why he does not choose to do so remains unclear.

Above all "Variety" has earned his place in film history due to the dynamic camera movements during the trapeze scenes. In this way the film is more a cinematographer's film than a director's film. Especially Karl Freund would remain a leading cinematographer in decades to come.

The Plot: Prologue: The murderer "Boss" Huller - after having spent ten years in prison - breaks his silence to tell the warden his story.

"Boss", a former trapeze artist, and his wife own a cheap side-show that displays ''erotic sensations''. But he longs for his former glamorous life in the circus.

When he meets the orphan Berta-Marie, he falls under her spell and leaves his wife and young son behind.

He makes Berta-Marie his partner in a new trapeze number. One day, the famous trapeze artist Artinelli takes note of them and engages them for his trapeze show in Berlin. Their salto mortale becomes an immediate sensation. Calculatedly and cold, Artinelli seduces Berta-Marie and destroys "Boss'" happiness.

If you are watching a version shorter than 112 minutes, you are watching the edited version. My screening was 83 minutes so I know there were lots of scenes cut out.

Still, it's an interesting movie. Yes, the story line is dated, but I assume that was not the case back in 1925.

The direction is really good.

I found interest in watching how people lived back then. Smoking all the time indoors, the luggage used, the different acts at the circus (which, BTW, was not a circus as we know it today, more a vaudeville show).

All the guys wear suits and ties and hats. A different time and place.

Anyway..it's true that the story is not complex. And it's also true that the female lead is not especially attractive. Nor is she slim. And Jannings is laughably overweight to be an acrobat.

The guy who is is stunt double for the acrobat scenes is literally 80 pounds lighter!

Despite all...watch it for the cinematography!

Variete is a well-directed and well-acted morality play. Chock full of cynical humor and ironic twists, it keeps your attention throughout in expert fashion until the last 20 minutes of the movie. Then things unravel too quickly and too obviously to hit home with the intended impact of the final irony. Still, I give it 7 out of 10.