Description

Biography of the explorer who convinced Spanish royalty to send him on a trip to chr(39)the Indieschr(39) and found the Caribbean instead. ... Read more

Reviews (5)

Missing pieces
This movie is good but leaves much to be desired.The original movie had to be close to 5 hours long this one is only2 hours and 15 minutes. The original was played on TV in the late '80's and was a great 5 Star movie. This one is the cut version and leaves out alot of the story.

Great historical re-creation.
...The only complaint I have of the movie is that the sound editor needs to be shot, because in many places where the actors are speaking quietly (and even above-whispering voices), you can just barely hear them! At times like that, I'm glad to have closed captioning capabilities on my TV. But other than that, a wonderful movie. One of the few movies over 3 hours long I will sit and watch from beginning to end.

worth watching
I saw this when it was on TV. I would buy it if it's on DVD.

Horrendous
Where do I start? Horrible script, bad casting, bad make up, bad acting, dumb looking natives (looks like Gilligan's Island), as boring as possible. Don't be fooled by the big name stars-this is a born-loser. I give it one star for the location filing.

Exceptional Historical Drama
Sensational telling of the hardships & adventures of Christopher Columbus. His discovery of the North American continent & of Central America. This movie brings the history books using actual historical settings & historically correct costumes. Gabriel is superb in the role of Columbus. ... Read more

Reviews (5)

Missing pieces
This movie is good but leaves much to be desired.The original movie had to be close to 5 hours long this one is only2 hours and 15 minutes. The original was played on TV in the late '80's and was a great 5 Star movie. This one is the cut version and leaves out alot of the story.

Great historical re-creation.
...The only complaint I have of the movie is that the sound editor needs to be shot, because in many places where the actors are speaking quietly (and even above-whispering voices), you can just barely hear them! At times like that, I'm glad to have closed captioning capabilities on my TV. But other than that, a wonderful movie. One of the few movies over 3 hours long I will sit and watch from beginning to end.

worth watching
I saw this when it was on TV. I would buy it if it's on DVD.

Horrendous
Where do I start? Horrible script, bad casting, bad make up, bad acting, dumb looking natives (looks like Gilligan's Island), as boring as possible. Don't be fooled by the big name stars-this is a born-loser. I give it one star for the location filing.

Exceptional Historical Drama
Sensational telling of the hardships & adventures of Christopher Columbus. His discovery of the North American continent & of Central America. This movie brings the history books using actual historical settings & historically correct costumes. Gabriel is superb in the role of Columbus. ... Read more

Reviews (6)

Fellini's directorial debut
This review is for the Criterion Collection DVD edition of the film.

This movie, co-directed by Fellini, is his first film. The story follows a young woman who joins a vaudeville act and brings great popularity to it.

The film has good acting and the English title is a very close translation of the original title, "Luci del varietà" or "Lights of Variety"

The DVD has no special features which is a disappointment since this is a Criterion release.

Green Fellini-- but still worth a look
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.

Fellini's fascinating debut.
This is the '1/2' film alluded to in the title of Fellini's masterpiece '8 1/2', Il Maestro's debut, co-directed with the now-forgotten Alberto Lattuada. it tells the story of a troupe of small-time entertainers travelling through the provinces of Italy, playing in poky, leaking theatres to small, abusive audiences, their meagre fees impounded by hotel owners with long memories; they're usually forced to sneak train rides or walk miles between stops.

Against this lively backdrop is a tragicomic romance, part-'A Star is Born', part-'The Blue Angel', between a middle-aged performer and a budding starlet. The former deludes himself about his greatness and influence in order to hide the cruel realities of failure and aging, but when the latter takes him at his word, he throws up the very real security his shambling peripatetic life offers, to promote his ambitious charge, with tragedy lurking around the corner.

This tale has a nasty, misogynistic undertow, with Carla de Poggio's Lily portrayed as cold and almost homicidally calculating, and Peppino de Filippo's besotted loser Checco sentimentalised (although his is the one emotionally truthful performance in the film), but luckily it isn't the film's main interest. Although it's only half his work, many of Fellini's motifs, themes and stylistic trademarks are present - the uneasy co-existence of dusty, small-town Italy with the American-fuelled dreams of theatre and showbiz; the nocturnal, dream-like scenes on empty streets, where the lead meets strangers and has a kind of group epiphany in which reality is enchanted or suspended; the indulgent (though clear-eyed) portrait of flawed, family-like artist life against the soulless commericalism of the nouveau riche; the cinematic momentum in which plot is less important than set-pieces in which accumulated incidents and protracted character interaction achieve a kind of carnivalesque truth.

Fellini would refine these elements later - scenes that should be magical fall a little flat; the characters aren't interesting or comic enough; the blaring music definitely lacks the Nino Rota touch - but the film is fascinating to see Fellini struggling with the limitations of his neo-realist apprenticeship.

Masina Steals The Show
A young woman pursuing her dream of being on the stage, aligns herself with a traveling variety show band of performers in "Variety Lights," directed by Federico Fellini (and assisted by Alberto Lattuada). Veteran comic actor Checco Dal Monte (Peppino De Filippo) and his troupe of performers are struggling to get by, living from hand to mouth and show to show, but it doesn't deter Liliana Antonelli (Carla Del Poggio), blinded perhaps by the stars in her eyes, from approaching Checco about joining his show. He turns her down-- they simply have no openings, and certainly no money-- but circumstances soon prevail on her behalf, and much to the chagrin of many of the other performers, she joins the troupe. The effect she will have on the show, and how it will influence her own life, remains to be seen at this point; but with Fellini at the helm, you know it's going to be an interesting ride. And it is.

Fellini, a true visionary, is known for filling the screen with vivid images born of his own imagination, especially in his later films. But beyond the sometimes bizarre appearances, there is always an engaging story to be found at the heart of his films, and this one (his first) is no exception. And, though devoid of the surrealism he would use later on, in Checco's company there is something of the carnival motif present that Fellini would return to time and again during the course of his career, and of course, there's the story, presented with that unique Fellini touch and laced with his insight into the human condition, which at it's core is the real strength of the film.

No matter what the subject matter, Fellini always had his finger on the emotional pulse of the material and had the innate ability to transfer what he felt to the screen. Very simply, he knew what worked and how to use it; within the images he presents, there can always be found a reflection of reality-- even amid the surreal-- and it's in his characters. Physically and emotionally, these are real people who run the entire gamut of human existence. Beyond his astounding visuals, it's his ability to cultivate that depth of his characters that makes Fellini special; the way they interact with, and relate to one another or the situations in which they find themselves. And by drawing out his actors, he always gives his audience someone with whom to identify on one level or another.

As Checco, Filippo successfully taps into the humanity of the character, this aging performer with hopes and aspirations beyond his means or capabilities. He's a character with whom you can sympathize, but only to a point-- for you soon recognize his flaws and transgressions. But even then, you are still able to at least understand him. Most importantly, his performance is believable, and his Checco comes across as a very real person.

Del Poggio gives a notable performance as well, as this young woman who makes the most of the opportunity with which she is presented. And as the story unfolds she develops her character extremely well; by the end of the film you know exactly who "Lily" is and what motivates her.

In a memorable supporting role, it's the young Giulietta Masina, however, who steals the show as Melina Amour, Checco's girlfriend. She creates the one character in the film with whom you can truly empathize, and she does it with style. Masina has such a radiant, charismatic screen presence, that whenever she appears the eye is instinctively drawn to her. A gifted actress, she is exceptionally adept at expressing her emotions-- often by merely shifting her eyes-- and communicating with the audience. Few actors can say more or convey as much with their eyes or with a simple expression as Masina. And, sparse as it is, her performance here is alone worth the price of admission.

The supporting cast includes Folco Lulli (Adelmo), John Kitzmiller (Johnny), Dante Maggio (Remo), Carlo Romano (Enzo) and Gina Mascetti (Valeria del Sole). Well crafted and delivered, "Variety Lights" is an engaging story, told in the same straightforward manner Fellini would later use in "La Strada" and "Nights of Cabiria." The basic elements of the story may be familiar, but it's an entertaining film, and worth seeing, as it prophesies the triumphs of an artist who would soon be recognized as one of the world's master filmmakers: Fellini.

THE FIRST MOVIE OF A GIANT
Co-directed by Alberto Lattuada and Federico Fellini, VARIETY LIGHTS is without a doubt already in the library of those of you who long for quality titles available in the DVD standard. If you can find now almost the entire filmography of Jean-Claude Van Damme or Jackie Chan in DVD, only one Luis Bunuel movie for instance can be found amidst the thousands of titles you can buy.

With VARIETY LIGHTS, you are going to join, before LA STRADA, the peculiar world of the artists with no name, the world of the Ginger Rogers and Fred Astaire look-alikes performing in the 1950 Italy. The camera of Federico Fellini is always tender with these artists and doesn't judge them. Even the ambitious girl who will cheat on the man who has discovered her is depicted as a naive girl blinded by the lights of show-business.

The copy presented by Criterion is far from being perfect but nonetheless is above-average. No bonus features except for a scene access, an interesting booklet, color bars and english subtitles.

A DVD for Giulietta Masina. ... Read more

Description

After joining a motley band of traveling entertainers, a beautiful woman beguiles the group's manager, breaks the heart of his mistress (Giulietta Masina, La Strada), and moves on to a bigger career.Fellini's talent for grasping the humanity of eccentric characters is apparent in his captivating directorial debut. ... Read more

Reviews (6)

Fellini's directorial debut
This review is for the Criterion Collection DVD edition of the film.

This movie, co-directed by Fellini, is his first film. The story follows a young woman who joins a vaudeville act and brings great popularity to it.

The film has good acting and the English title is a very close translation of the original title, "Luci del varietà" or "Lights of Variety"

The DVD has no special features which is a disappointment since this is a Criterion release.

Green Fellini-- but still worth a look
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.

Fellini's fascinating debut.
This is the '1/2' film alluded to in the title of Fellini's masterpiece '8 1/2', Il Maestro's debut, co-directed with the now-forgotten Alberto Lattuada. it tells the story of a troupe of small-time entertainers travelling through the provinces of Italy, playing in poky, leaking theatres to small, abusive audiences, their meagre fees impounded by hotel owners with long memories; they're usually forced to sneak train rides or walk miles between stops.

Against this lively backdrop is a tragicomic romance, part-'A Star is Born', part-'The Blue Angel', between a middle-aged performer and a budding starlet. The former deludes himself about his greatness and influence in order to hide the cruel realities of failure and aging, but when the latter takes him at his word, he throws up the very real security his shambling peripatetic life offers, to promote his ambitious charge, with tragedy lurking around the corner.

This tale has a nasty, misogynistic undertow, with Carla de Poggio's Lily portrayed as cold and almost homicidally calculating, and Peppino de Filippo's besotted loser Checco sentimentalised (although his is the one emotionally truthful performance in the film), but luckily it isn't the film's main interest. Although it's only half his work, many of Fellini's motifs, themes and stylistic trademarks are present - the uneasy co-existence of dusty, small-town Italy with the American-fuelled dreams of theatre and showbiz; the nocturnal, dream-like scenes on empty streets, where the lead meets strangers and has a kind of group epiphany in which reality is enchanted or suspended; the indulgent (though clear-eyed) portrait of flawed, family-like artist life against the soulless commericalism of the nouveau riche; the cinematic momentum in which plot is less important than set-pieces in which accumulated incidents and protracted character interaction achieve a kind of carnivalesque truth.

Fellini would refine these elements later - scenes that should be magical fall a little flat; the characters aren't interesting or comic enough; the blaring music definitely lacks the Nino Rota touch - but the film is fascinating to see Fellini struggling with the limitations of his neo-realist apprenticeship.

Masina Steals The Show
A young woman pursuing her dream of being on the stage, aligns herself with a traveling variety show band of performers in "Variety Lights," directed by Federico Fellini (and assisted by Alberto Lattuada). Veteran comic actor Checco Dal Monte (Peppino De Filippo) and his troupe of performers are struggling to get by, living from hand to mouth and show to show, but it doesn't deter Liliana Antonelli (Carla Del Poggio), blinded perhaps by the stars in her eyes, from approaching Checco about joining his show. He turns her down-- they simply have no openings, and certainly no money-- but circumstances soon prevail on her behalf, and much to the chagrin of many of the other performers, she joins the troupe. The effect she will have on the show, and how it will influence her own life, remains to be seen at this point; but with Fellini at the helm, you know it's going to be an interesting ride. And it is.

Fellini, a true visionary, is known for filling the screen with vivid images born of his own imagination, especially in his later films. But beyond the sometimes bizarre appearances, there is always an engaging story to be found at the heart of his films, and this one (his first) is no exception. And, though devoid of the surrealism he would use later on, in Checco's company there is something of the carnival motif present that Fellini would return to time and again during the course of his career, and of course, there's the story, presented with that unique Fellini touch and laced with his insight into the human condition, which at it's core is the real strength of the film.

No matter what the subject matter, Fellini always had his finger on the emotional pulse of the material and had the innate ability to transfer what he felt to the screen. Very simply, he knew what worked and how to use it; within the images he presents, there can always be found a reflection of reality-- even amid the surreal-- and it's in his characters. Physically and emotionally, these are real people who run the entire gamut of human existence. Beyond his astounding visuals, it's his ability to cultivate that depth of his characters that makes Fellini special; the way they interact with, and relate to one another or the situations in which they find themselves. And by drawing out his actors, he always gives his audience someone with whom to identify on one level or another.

As Checco, Filippo successfully taps into the humanity of the character, this aging performer with hopes and aspirations beyond his means or capabilities. He's a character with whom you can sympathize, but only to a point-- for you soon recognize his flaws and transgressions. But even then, you are still able to at least understand him. Most importantly, his performance is believable, and his Checco comes across as a very real person.

Del Poggio gives a notable performance as well, as this young woman who makes the most of the opportunity with which she is presented. And as the story unfolds she develops her character extremely well; by the end of the film you know exactly who "Lily" is and what motivates her.

In a memorable supporting role, it's the young Giulietta Masina, however, who steals the show as Melina Amour, Checco's girlfriend. She creates the one character in the film with whom you can truly empathize, and she does it with style. Masina has such a radiant, charismatic screen presence, that whenever she appears the eye is instinctively drawn to her. A gifted actress, she is exceptionally adept at expressing her emotions-- often by merely shifting her eyes-- and communicating with the audience. Few actors can say more or convey as much with their eyes or with a simple expression as Masina. And, sparse as it is, her performance here is alone worth the price of admission.

The supporting cast includes Folco Lulli (Adelmo), John Kitzmiller (Johnny), Dante Maggio (Remo), Carlo Romano (Enzo) and Gina Mascetti (Valeria del Sole). Well crafted and delivered, "Variety Lights" is an engaging story, told in the same straightforward manner Fellini would later use in "La Strada" and "Nights of Cabiria." The basic elements of the story may be familiar, but it's an entertaining film, and worth seeing, as it prophesies the triumphs of an artist who would soon be recognized as one of the world's master filmmakers: Fellini.

THE FIRST MOVIE OF A GIANT
Co-directed by Alberto Lattuada and Federico Fellini, VARIETY LIGHTS is without a doubt already in the library of those of you who long for quality titles available in the DVD standard. If you can find now almost the entire filmography of Jean-Claude Van Damme or Jackie Chan in DVD, only one Luis Bunuel movie for instance can be found amidst the thousands of titles you can buy.

With VARIETY LIGHTS, you are going to join, before LA STRADA, the peculiar world of the artists with no name, the world of the Ginger Rogers and Fred Astaire look-alikes performing in the 1950 Italy. The camera of Federico Fellini is always tender with these artists and doesn't judge them. Even the ambitious girl who will cheat on the man who has discovered her is depicted as a naive girl blinded by the lights of show-business.

The copy presented by Criterion is far from being perfect but nonetheless is above-average. No bonus features except for a scene access, an interesting booklet, color bars and english subtitles.

A DVD for Giulietta Masina. ... Read more