When American audiences were permitted to see German filmmaker E.A. Dupont's silent masterpiece Variety, it was the story of a carnival concessionaire (Emil Jannings), his alluring wife (Lya de Putti), and the handsome acrobat (Warwick… More When American audiences were permitted to see German filmmaker E.A. Dupont's silent masterpiece Variety, it was the story of a carnival concessionaire (Emil Jannings), his alluring wife (Lya de Putti), and the handsome acrobat (Warwick Ward) who comes between them. Feeling doubly impotent because he himself had been a famous aerialist before suffering a crippling accident, Jannings fantasizes about killing his rival -- and, finally, does so. After serving a long prison term, Jannings is released by a compassionate warden, who feels as though the poor cuckold has suffered enough. This, again, is what Americans saw. In the original European version of Variety, which ran nearly twice as long as the U.S. print, Jannings deserts his wife (Maly Delschaft) when de Putti enters the scene. Moreover, he never marries de Putti, meaning that his only hold over her when Ward steals her away is an emotional one. Dupont had fashioned an ironic tale of a man suffering betrayal after having himself betrayed. The American censors wouldn't swallow that, nor would they pass the charming domestic scene wherein Jannings helps de Putti disrobe, unless the prologue involving Delschaft was chopped out and de Putti was transformed from mistress to wife. Though this sort of bowdlerization might seem like an artistic outrage, the American version of Variety is in fact superior to the original, especially in terms of pace; what seemed interminable in the German version zips along at an entertaining clip in the revised print.