Variety

There is no doubt that feminism is what holds this movie together.

Bette Gordon made this movie in the height of the feminist debate over pornography. She doesn't endorse or condemn porn in this movie.

"Variety" depicts a woman who uses porn as a tool of self-exploration.

The movie is also a spoof of film noir. Gordon has fun with the genre by changing the sex of the main character to female. She lets her heroine play the amateur sleuth, which is traditionally a male character.

Unlike many genre movies in which women are terrorized, there is no victim in "Variety." Gordon contends that pornography doesn't necessarily make women victims. It is so refreshing that Gordon never puts her heroine at the site of male violence.

Gordon succeeds in keeping the viewer in suspense till the very end of the movie.

I've works at the flagship Krispy Kreme in Time Square, during the graveyard shift in COVID. That will probably be the closest my generation will ever get to a NY of this film. Gritty, but with absence of character! Grindhouse, B-movies, and exploitation films all have their starts to thank for in the theater district of Manhattan. Cinephiles must give flowers to the films that deserve their recognition in encompassing a world so few films would dare harp on, the subject matter of this film has a strict stance on either focusing on the male gaze or completely inverting it, and the film dose the latter. This film shows how 42st was structured chaos, a world which only legit street hounds could survive in. This world exists no longer, and for that reason, as historical guide this film is 10/10!

Variety was shot on the super-cheap on the streets of midtown NYC in 1983, which is for a short while part of its not exactly charm but precise and evocative mood. This is a Times Square that most wont recognize since the clean-up in recent years; it's dirty, loaded with porno theaters and video stores, and with some exceptions (like the Variety movie theater boss played by Luis Guzman) there's no lack of sleazy males. In this movie the main character, Christine (Sandy McLeod) seems to be a fairly normal girl just looking for a job and finds one at Jose's Variety theater at the ticket window. Little by little she becomes intrigued by the porno movies playing and by a mysterious gentlemen caller (Richard Davidson) who takes her out on a bum date to Yankee stadium, stranding her up as he just 'goes away' on some urgent matter.

What follows is a series of scenes of her following him around- even going as far as to the Jersey shore where he does some mysterious "business" shaking hands with people outside of amusement parks- and little by little she sinks further into this porno-type of funk, like a misguided femme fatale sitting in her room and playing 45's in sultry clothes and purple lighting. Some of this sounds interesting because it is - Bette Gordon has a point to make here on the feminine condition in an Urban setting, kind of like a Taxi Driver only replacing the guns with more of the porn, and there are some effective scenes early on showing McLeod surrounded by this creepy but intriguing setting.

But there's also passages that, I hate to admit, were just too dull to really be engaged. She follows this man to a fish market, and then we're treated to lots and lots of footage of fish and the like. Why? What does this really add to the atmosphere? It's like Gordon doesn't always know if she wants to make a neo-noir or a documentary, and the shuffle between the two forms (both engaging on their own) becomes confused. I also didn't care for those passages where Christine gives those ridiculously detailed descriptions/synopses of the porno movies she sees to her exasperated boyfriend (Will Patton), and McLeod in these scenes reaches her most annoying points. She's not a terrible actress throughout, but here she sounds like she's reciting remembered lines as opposed to acting, and one sympathizes with what Mark has to put up with. We're putting up with it too.

There is a reason this has something of a very minor cult status, and that it even got Bette Gordon a re-release screening at the Tribeca film festival this year. It's very much a New York movie, made on the dirty streets, meant to capture that dingy side and to give some kind of naturalistic feeling of a strange woman in this environment. But its own mystery undercuts itself. Variety would work far better, maybe even be truly great, as a short film. At 100 minutes, for all of its little moments of pleasure (i.e. when Chrisitne imagines herself up on the screen in a room with the enigmatic criminal Louie) and John Lurie's intoxicating jazz, it's too long and too unfocused for what works well to really strike it home. Luis Guzman steals the show.

An intriguing tale on loneliness and obsession, "Variety" takes on human frailties and vulnerabilities and how circumstances can drive these beyond one's control. A young woman in New York City lands a job in a booth as a ticket seller in a pornographic theater. The sights and sounds of the environment pique her interest until a chance meeting with a regular draws her into a spiral of stalking voyeurism.

The backdrop of Reagan-era Manhattan adds an urban aesthetic to this dark tale. Lead actress Sandy McLeod's willowy features add an air of vintage innocence that fit perfectly to the character's role. And boy, did porn actresses look good back then. The natural beauties of yore far outdistance the current crop of tattoo-ridden plastic-injected hermaphrodites from hell that constitute the smut industry nowadays.

This is your classic slow burn flick and it's one that seems to go on forever. While it would have been better if half an hour was taken off to give it more punch the bare, quiet realism conveyed keeps it watchable as if one is the voyeur staring into this young woman's life.

One of those films that isn't anything outstanding but somehow leaves a subtle and undeniable mark, "Variety"'s exploration into the neon alleyways of the big city's throbbing pulse and memorable female protagonist stirs and moves a haunting aftermath that lingers long after the final credits roll in. Quite the see.

I understand the feminist perspective in this film, but since it's virtually plotless and entirely too long, it ends up being a snooze fest. Scenes in which nothing happens go on for five minutes or longer. Some of the camera work is good, and it's interesting to see the old trashy Times Square of the 80's. But if this is supposed to be a message film, it's too static and boring to make the audience receptive.