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.
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.