Les feux du music-hall

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.

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.

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

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

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