★ 7 / 10
STAR 80 (1983) is arguably the least regarded
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STAR 80 (1983) is arguably the least regarded of Bob Fosse's five outings as director. What you are about to read is going to come across as a condemnation of…
STAR 80 (1983) is arguably the least regarded of Bob Fosse's five outings as director. What you are about to read is going to come across as a condemnation of this film - it is not. It's just my analysis of a film that has some obvious weak points which Fosse was oblivious to. And let me clarify further: I have seen and enjoyed all of the films he directed and own three of them. Although I appear to be making a case for this film in the most critical way possible, I actually enjoy it enough to revisit it from time to time. I would legitimately consider myself to be a Fosse fan. Now, that said...
Save for one scene involving Dorothy and Paul meeting a celebrity at the Playboy Mansion, this is a film totally devoid of humor. I realize the subject matter is lurid and we know the tragic ending going in, but I think humanizing these characters at the beginning of the film, before things get really dark, would have gone a long way towards getting away from that one-note feeling that this film has. (For an example of a film where we know death is coming but are able to laugh without guilt early on, check out Paul Schrader's AUTO FOCUS [2002]. That film might actually be a little too sunny at the beginning, but that's a discussion for another day.) This appears to be a deliberate decision on Fosse's part, as he keeps foreshadowing the ending by flashing forward to the murder scene at various points. Most people already knew the story going in, so he wasn't giving anything away by doing this, but his decision to keep referencing the impending bloodbath is oppressive. It stifles any emotion the viewer might generate and perpetuates only a lingering feeling of dread. Perhaps that's exactly where Fosse wanted his audience. If that is the case, he succeeded 100%.
Mariel Hemingway is questionable as Dorothy, but she tries. In her defense, I don't think Fosse's script does her any favors. At the beginning of the film, she displays a kind-of 'gee whiz' innocence which is totally appropriate. But by the time she has left home, posed for Playboy, appeared in films, slept with her director, and had her marriage fall apart, there should have been at least a little hardening or cynicism creeping in. If real-life Dorothy experienced this, then Fosse is keeping it a secret. On-screen Dorothy isn't allowed to mature, or develop emotionally in any deep way. I'm loathe to imply anything, but perhaps Fosse kept her character as one-dimensional as he did for a reason.
As for the other performances: Eric Roberts does what he is asked to do. He goes from leering creep to violent creep, and he does it well. Of course, when the first scene of the movie involves your character standing before a mirror practicing basic human interaction, but is unable to control his hateful tendencies even while alone, your character arc is pretty much set. But, yes, he is fine here. Cliff Robertson underplays Hugh Hefner in a nice contrast to the aggressive Roberts. Roger Rees makes no impression as the Peter Bogdanovich surrogate. Carroll Baker is allowed to display the actual emotions involved with watching your child slip into a situation that you know cannot lead anywhere good. She gives the best performance in the film.
Looking at Fosse's directing credits, the thematic progression is uncanny. Each project gets progressively darker and more death obsessed. (Yes, even ALL THAT JAZZ (1979), which celebrated Joe Gideon's/Bob Fosse's death in its final big production number.) In a way, this film was the perfect final project for Fosse. A filmography which began with the upbeat optimism of Charity Hope Valentine ended with the necrophilic violation of Dorothy Stratten. I'm not sure where that emotional trajectory would have taken Fosse next, but finding something darker than this would have probably produced something very, very unsettling.
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★ 8 / 10
A Shooting Star
reelreviewsandrecommendations
Dorothy Stratten was on the road to superstardom. In 1979, the Vancouver-born model was made Playboy's Miss August, as well as appearing in episodes of 'Buck…
Dorothy Stratten was on the road to superstardom. In 1979, the Vancouver-born model was made Playboy's Miss August, as well as appearing in episodes of 'Buck Rogers' and 'Fantasy Island'. In 1980, she played the lead role in the sci-fi flick 'Galaxina,' and was dubbed Playmate of the Year, a prestigious title that came with $200,000 in cash and gifts from the Playboy organization. On April 30th of that year she was a guest on 'The Tonight Show with Johnny Carson', further cementing her fame. By August 15th, she was dead.Bob Fosse's powerful biopic 'Star 80' tells the story of the murder of Dorothy Stratten, with the focus not on Stratten, but on her husband and murderer, Paul Snider. Based on Teresa Carpenter's article 'Death of a Playmate,' it chronicles Stratten's rise to fame and Snider's growing insecurities and obsessions. A small-time hustler with big ideas, Snider could not handle it when Stratten- not he- started making it big. When their relationship breaks down and she starts dating a Hollywood director, it's only a matter of time before his insanity turns to violence.An affecting, raw drama, it sheds light on a dangerous mind. Fosse's screenplay portrays Snider as psychotically obsessive and self-centred, exhibiting clear signs of sociopathy, such as a lack of empathy and a manipulative nature, while his insecurities fuel his need for control and validation. Unable to handle Stratten's rising fame, he views her success as a personal failure, deepening his sense of inadequacy. This toxic blend of envy, fear and possessiveness drives his descent into violent madness. The film starkly illustrates Snider's psychological unravelling, exposing the dangerous extremes one can go to in order to regain control.By contrast, Stratten's character represents innocence and vulnerability. Her meteoric rise to fame captivated many, but beneath the glamour, she remained grounded. Unlike Snider, Stratten's appeal was genuine, drawing people in with her natural warmth. She navigates Hollywood with wide-eyed optimism, unaware of the dark forces closing in around her. Her relationship with Snider starts as a fairytale, quickly turning into a nightmare as his insecurities and jealousy surface.The film juxtaposes Stratten's genuine desire for success and connection with Snider's pathological need for control. As Stratten's star rises, her inner strength and resilience become more apparent, making her untimely death all the more tragic. Her legacy is not just as a Playboy Playmate or an actress, but as a symbol of lost potential and the devastating impact of unchecked obsession.Snider is a case study in destructive behaviour, while Stratten embodies the tragic vulnerability of someone caught in the orbit of a dangerously unstable individual, underscoring the film's thematic exploration of toxic relationships, fame and control. It serves as a cautionary tale about the dangers of unchecked obsession and the fragility of innocence in the face of exploitation. The film's atmosphere is imbued with a sense of impending doom, generating suspense while effectively drawing one into the tragic trajectory of Stratten's life.Fosse's direction, Alan Heim's editing and the screenplay's pacing ensure that even as the story navigates through flashbacks and present-day scenes, the tension never wanes. The film's visual and narrative style echoes Fosse's previous work, blending raw emotion with stark realism. Sven Nykvist's gritty cinematography lends proceedings the feel of a documentary, heightening the narrative's emotional impact.Furthermore, the meticulous production design further immerses viewers in the grubby reality of the characters' world. Fosse's Hollywood is a neon-lit, gaudy playground of excess, where innocence goes to die. In addition, Ralph Burns's soundtrack- making good use of songs by the likes of Rod Stewart and The Village People- amplifies the era's hedonistic vibe, adding another layer of depth to the film's atmosphere.Eric Roberts brings Snider to life with a chilling ease. He is both captivating and terrifying, yet also deeply human. His intensity and commitment to the role ensures that, while you don't empathize with Snider, you do understand him. With over 700 performances to his name, Roberts' tour-de-force work in 'Star 80' is one of the best.Mariel Hemingway shines as Stratten, capturing both her innocence and ambition. Her performance is nuanced, portraying Stratten not just as a victim, but as a multi-faceted person with dreams and vulnerabilities. She brings depth and life to the character, making her ultimate fate even more heartbreaking. Hemingway's subtlety in depicting Stratten's naivety and eventual realization of the danger she's in adds emotional weight to the film.In addition, Cliff Robertson does strong work as Hugh Hefner, playing the larger-than-life figure as a canny businessman with questionable morals. You're never quite sure what his end game is, or what he's really thinking. The character embodies the allure and pitfalls of fame; his interactions with Stratten highlighting the stark contrast between her innocence and the predatory nature of Hollywood.Further, David Clennon and Carroll Baker both impress greatly as a psychiatrist friend of Snider's named Geb and Stratten's mother, respectfully, underplaying it masterfully. Meanwhile, Roger Rees- in his film debut- does typically fine work as Aram Nichols, a director- based on Peter Bogdanovich- whom Stratten starts dating.Bob Fosse's 'Star 80' is a powerful biopic, detailing the dangers of obsession, as well as examining the intersections between fame and control. The film is a stark reminder of the darker side of Hollywood, where ambition can quickly turn toxic, and innocence is often a casualty. With raw performances and a gripping narrative, 'Star 80' leaves a lasting impact, urging viewers to consider the human cost behind Hollywood's glitz and glamour. It shows, above all else, that Stratten was a star, a shooting star that faded too soon; but, for a time, how she shone.
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★ 8 / 10
The Complexity Of Simplicity
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I have to hand it to Bob Fosse for immortalizing not only Dorothy Stratten, but Lenny Bruce as well. (In Bob's other great movie 'Lenny' with Dustin Hoffman)…
I have to hand it to Bob Fosse for immortalizing not only Dorothy Stratten, but Lenny Bruce as well. (In Bob's other great movie 'Lenny' with Dustin Hoffman) What is it about these two people that attracted the intense attention of a choreographer like Fosse? In a word, I'd say it was 'rhythm'. Both these people went 'out of sync' with their otherwise preordained lives. Lenny decided to 'go blue' with his comedic material, and become the whipping boy for 'free speech'. While Dorothy was humble about her beauty, but saw the empowering opportunities it could give her. And interesting that Lenny was praised by the public for his comedic boldness, but hated by 'the system' of righteous puritanical authorities and outlets. Whereas Dorothy was scrutinized for her Playboy posing, but in her defense of it, 'the system' of entertainment pros and directors saw great potential in her. And as soon as the public realized 'Hey, these people are dancing to a different beat - but they're good at it' - they're sadly removed from the chorus line. And interesting that Lenny began to take himself and his charges way too seriously, while Dorothy and her rising success wasn't taken seriously enough by herself. Had Lenny been a little more 'laissez-faire' with the charges and controversy he caused, he may have lived a long and successful life? Had Dorothy taken heed to Hef's and others advice that she'd be better off without Paul, she too may have had a long and successful life? Either way, I don't think either died in vane. And again, kudos to Bob for putting these otherwise less than favorable and forgettable people as the unwitting pioneers that they were. Not that Lenny Bruce single handed made comedy 'sleazy'. Or that Dorothy Stratten innocently made pornography 'respectable'. But there are those today that would ignorantly say 'they got what they deserved'. And it's the grace of these two movies of Bob's to show how ultimately wrong they really are.
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