Variety

As the name already indicates "Variety" is situated in a vaudeville setting. It is about trapeze artists who regularly change partners (both in business and in love). Emil Jannings plays a man who leaves his wife for a younger woman but gets very jealous when he is at risk of receiving the same treatment.

The film portrays the decadence of the roaring twenties in Germany. See for example the scene in which the artists have their own afterparty after the show.

The story however is somewhat flawed. The Emil Jannings character has the possibility to take revenge in a way that looks like an accident. Why he does not choose to do so remains unclear.

Above all "Variety" has earned his place in film history due to the dynamic camera movements during the trapeze scenes. In this way the film is more a cinematographer's film than a director's film. Especially Karl Freund would remain a leading cinematographer in decades to come.

In 1915 Germany, burly trapeze artist Emil Jannings (as Stephan "Boss" Huller) leaves his wife and partner for sultry young Lya de Putti (as Berta-Marie). Soon, the carnival performing pair are hired by famed trapezist Warwick Ward (as Artinelli), after his flying brother is derailed by a fall. The high swinging threesome is an immediate success. But, after his trimmer partners begin to take care of their mutual attraction, Mr. Jannings must commit the crime for which he serves ten years in prison - as revealed in the present-day prologue. No doubt, it's going to get nasty…

Appearing decidedly middle-aged, and with his overweight figure impossible to disguise, Jannings is miscast to the point of ridiculous. But, he was so popular most viewers accepted Jannings as the trim athletic "catcher" flying high. For American consumption, Paramount left out Jannings' adulterous first act (and trimmed the remainder of the film). This softens Jannings' character, of course. The film cutters did leave in some flashes of female nipple. That, Jannings, and some great camera-work from Karl Freud made "Varieté" a critical and commercial success in the US.

****** Varieté (11/16/25) E.A. Dupont ~ Emil Jannings, Lya de Putti, Warwick Ward, Maly Delschaft

We are privileged that technology allows us to view such films as this, that are almost 100 years old, in such clarity. The print now available on Blu-ray is stunning and even if, after the first few minutes, one becomes used to this, when the setting switches to Berlin nighttime street scenes, our jaw drops again. Vintage photographs of amazing clarity come alive as buses, taxis and crowds of people jostle as the neon shines brightly in the sky. The vaudeville scenes of the 'Codonas', standing in for our film stars, fly through the air with the greatest of ease and demonstrate their infamous 'triple somersault' with only the excited crowd below. Throughout the film there are wondrous shots of the streets, the circus, the fairground and more intimate cabaret, but also there is a tale to be told. Emil Jannings is our star, seemingly too old for the part and looking more like a builder or truck driver than a trapeze 'catcher' but he was such a popular performer back in the stage and silent film days in Germany, this slight oddity would have gone unnoticed. Even more noticeable is the beautifully strange Lay De Putti who plays the love interest here. or should I say, 'sex interest' for this is a surprisingly saucy and frank portrayal of the natural and obvious appeal of such a young and pretty and half naked dancer and trapeze artiste. Not over long, remarkably involving and most fascinating glimpse into the 'variete' scene in 20s Berlin.

The Plot: Prologue: The murderer "Boss" Huller - after having spent ten years in prison - breaks his silence to tell the warden his story.

"Boss", a former trapeze artist, and his wife own a cheap side-show that displays ''erotic sensations''. But he longs for his former glamorous life in the circus.

When he meets the orphan Berta-Marie, he falls under her spell and leaves his wife and young son behind.

He makes Berta-Marie his partner in a new trapeze number. One day, the famous trapeze artist Artinelli takes note of them and engages them for his trapeze show in Berlin. Their salto mortale becomes an immediate sensation. Calculatedly and cold, Artinelli seduces Berta-Marie and destroys "Boss'" happiness.

If you are watching a version shorter than 112 minutes, you are watching the edited version. My screening was 83 minutes so I know there were lots of scenes cut out.

Still, it's an interesting movie. Yes, the story line is dated, but I assume that was not the case back in 1925.

The direction is really good.

I found interest in watching how people lived back then. Smoking all the time indoors, the luggage used, the different acts at the circus (which, BTW, was not a circus as we know it today, more a vaudeville show).

All the guys wear suits and ties and hats. A different time and place.

Anyway..it's true that the story is not complex. And it's also true that the female lead is not especially attractive. Nor is she slim. And Jannings is laughably overweight to be an acrobat.

The guy who is is stunt double for the acrobat scenes is literally 80 pounds lighter!

Despite all...watch it for the cinematography!

The print I saw recently did not contain the "prologue" mentioned above, which I assume was lifted from the novel on which the film was based. If it had been included in some form, it would have made several things clearer: 1) where "Boss" got his nickname; 2) why he was so much older than Berta-Marie; 3) why so much older (and less in-shape) a man would still be a trapeze artist; 4) why the couple seemed so puppyishly in love at the beginning, he to the point of slavishness; and 5) why "Boss" would be so jealous when Artinelli shows attentions to Berta.

None of this is absolutely necessary to enjoy the film, however, which has beautifully detailed performances and terrific camerawork by Karl Freund. The trapeze sequences will leave you giddy. The montages of variety acts are witty and vibrant. Berlin nightlife in the '20s looks glamorous. And Jannings surely has one of the classic silent-screen actors' faces, eloquently conveying a wide spectrum of emotions.

"Variete" was a sensation when it appeared, primarily for its camerawork. At the time, director EA Dupont took most of the kudos and seemed launched on a promising career. But he was tapped out after his next flick, the estimable "Picadilly," and in retrospect, Freund is the creative force whose part in "Variete" assumes a place in a major body of film work. That being said, Dupont's work with the actors here is outstanding and a key part of the film's success.