This Movie Can Only Be Described With One Word.

One of the wrost movies I have ever seen

The movie is wonderful and true, an act of love in all its contradictions and complexity

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

If you have ever wondered why Federico Fellini's film 8½ was called 8½, the reason is simple. It was the eighth full film he had directed, till that point, along with a ½ film credit, which was his debut effort, 1950's co-direction in the 97 minute long black and white film Variety Lights (Luci Del Varietà), along with Neo-Realist film directing veteran Alberto Lattuada. The film's story and screenplay, however, were both penned by Fellini, and the most manifest thing about the film is its similarity to the Hollywood film All About Eve, released the same year- albeit it is a bit grittier, more realistic and less melodramatically star-driven, and its influence on Fellini's own later La Strada, as well as presaging many Fellini trademarks and tics. It is not a great film, but a thoroughly enjoying light bit of entertainment. Before this film, Fellini had mostly worked as a screenplay writer and script doctor. His most well known contribution prior to this film was on Roberto Rossellini's Open City….despite their poverty and idiocy, selfishness and ill manners, the characters in Variety Lights are lovable and utterly human. They are not the grotesques and caricatures that would become Fellini's stock in trade in later years. They merely have to clutch to a goose, shrug an eyebrow, or yawn lazily on a divan, and the sense is that these are real people, not mere fictive characters. Even the camera lingers on them in soft hues, suggesting the empathy of the filmmakers'. The insider knowledge the film displays is classic Fellini territory, and despite being an ensemble film it is really the stellar acting of Peppino De Filippo that raises this film above mere schmaltz, which it could have become rather easily. No, it's not as deep nor poignant as Charlie Chaplin's Limelight, released two tears later- a film with similar themes and backgrounds, but it is a worthwhile film, and one that stands up to repeated viewings.

This film was co-directed by Fellini and is one of his earliest works (his first directing, though he'd written some scripts for earlier films). Most of his films through the 1950s were very straight forward dramas and many of them were extremely touching and unforgettable. This movie fits in very nicely with these films such as THE WHITE SHEIK, I VITELLONI and LA STRADA. If you are looking for the symbolic Fellini like in 8 1/2 or the weird Fellini such as in SATYRICON or CASSANOVA, then this movie might just leave you flat because it is such a "normal" film. As for me, this is NOT a bad thing, as I have long preferred his earlier directorial work. It's not as complicated or confusing as his later films but also shows amazing style and grace--as well as a great ability to create touching characters.This simple film is about a 4th-rate traveling variety show. They are perpetually broke and most of this is due to the group's distinct lack of talent. Despite this, they have a certain pride in their work and some see themselves as artists--though their audiences thought otherwise. Into this rather bleak existence comes a young and seemingly naive young woman (Lily) who wants to be a star. Unlike the audience, Lily is captivated by the actors and longs to join them. The only one in the group who seems interested in having her join them, though, is the troop's director--and it's only because the lady is so young and shapely. Despite the lady's lack of experience, when she does make her debut it is a success--mostly because the men in the audience liked to see her in various stages of undress.Since the group is now a success, the director sees his new ingénue as his ticket to fame and he no longer pays attention to his long-time girlfriend (played by Fellini's wife, Giulietta Masina). He puts all his creative energy into marketing Lily and his efforts are pretty much wasted--as Lily is much better in marketing herself since men go mad when they see her on stage. Eventually, and not surprisingly, Lily outgrows the silly old director and he's left with no one, as his traveling troop left him because they were tired of being ignored. What happens next you'll have to see for yourself, but the film is an excellent and interesting character study--not so much of Lily, but of the foolish director.Well acted, interesting and fascinating--this is a lovely film worth your time.

Variety Lights is Fellini's debut film. The film consists of ideas and motifs that would succeedingly appear in movies like 8 1/2 and The Clowns. However, these traits are still undeveloped but we can see how they would be used as personal metaphors for the director. Running under an hour, the film is shown in black and white with legible subtitles and moving at a smooth pace. The story follows a variety show troupe and an female audience member who is so inspired by one of their performances that she asks to join their group. We are then presented with the rise of the performer's act and how mistakes like having her dress fall off soon attracts the attention of the audience. Soon the variety show begins displaying a more racy repertory all which is fronted by sexy novice. Some images in the film like large behinds and women in bikinis may have been provocative for its time in America --although Italy's standards tended to be more shocking. Nevertheless, as discussed in the documentary Rated X, Fellini's movies was generally restricted to Adult theaters due to subject matter, although much more provocation was soon to come. Variety Lights features Masina, Fellini's wife, in a supporting role as a dancer with few scenes, although she still gives a good performance nevertheless. Masina would soon gather more attention to her acting in succeeding Fellini films like Night of Cabaria and La Strata. However, the focus of this film is directed at De Filippo for his role as the impresario and Poggio as the desperate actress. Veriety Lights is not the best Fellini production but still worth a look.

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