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Eric Roberts stole the show big time in this movie. He created one of the most despicable characters in all movie history, the small-time hustler Paul Snider. From the moment early on in the film when he's seen practicing his falsely sincere greetings in a mirror, the viewer takes an instant dislike to him. As he manipulates the naive and beautiful Dorothy Stratton (Mariel Hemingway) for his own selfish purposes the feeling gets almost exponentially larger. Hemingway is unlucky in a way to have to go up against such a dominating performance. She can't hope to match it, but she does a good enough job to make the film work. Cliff Robertson is excellent in the role of Hugh Hefner, which probably wasn't an easy situation, given that that man is both a well-known figure yet still a mysterious legend to some. Contrary to what a lot of people thought, I don't think Hefner came out looking that badly in the way that he was portrayed. This was a sad and ugly story but he wasn't the villain.

The movie serves as an epitaph to an ordinary young woman with extraordinary beauty who never had a chance once she got in the clutches of such a self-serving user. For me the most painfully sad moment in the movie came when Dorothy's mother (Carroll Baker) contemptuously tells Snider, "She never even used to go around in her bathrobe before you came along."

This movie is obviously not a lot of laughs but it's still worthwhile, especially for the outstanding performance of Roberts.

It's hard to do a review of a movie where the real life events are so tragic AND this movie is sad from the start because you know how it's gonna play out. I will say though that I have seen this many times and that it is a very well done, terrifically acted movie. Obviously, no matter how good this movie was I'd prefer it not to have ever been made because I'd prefer the real life events this is based on, never to have happened at all. Since it WAS made, however I can say without a doubt that the main cast members do their job-Roberts makes you hate,dispise him with a passion and Hemmingway is fragile, lovely and achingly sweet. I have no doubt how easy it was to get swept up in the glamourous lifestyle Stratton lived, I think most people would have myself included. Seeing the story enfold as it did, and knowing the final outcome, it's hard not to yell at the screen at the end,even knowing that you can't go back in time and change the events that happened. Dorothy Stratten was young and lovely and kindhearted and had her whole life in front of her-it's hard to say one "enjoyed" a movie where the ending was so tragic and in this case true so I won't say that. But it IS a movie I have seen more then once and would recomend wholeheartedly. VERY very welldone.

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.

Eric Roberts was clearly the `STAR' of Star 80. His performance as the self proclaimed Gods gift to Women character Paul Snider is really what makes this film. He makes the viewer take an instant dislike to him from his opening scene and carries it all the way through. Mariel Heminways portrayal of the ill fated Playboy Playmate Dorothy Stratten is maybe lukewarm marginal. Cliff Robertson is cast as Hugh Hefner but somehow doesn't seem right for the role.

Sadly this was in fact a true tragic story. See it for no other reason than Eric Roberts superb portrayal of the seven letter word usually considered vulgar meaning a stupid, incompetent or detestable person boyfriend/husband/manager of Dorothy Stratten. Vastly superior to the alternate version 1981's Death of A Centerfold.

In 1978 Vancouver, Dorothy Stratten (Mariel Hemingway) is a teenager working at a Dairy Queen. She falls under the influence of narcissist scheming con-man Paul Snider (Eric Roberts). He takes Polaroids of her nude and sends them to Playboy. Hugh Hefner (Cliff Robertson) is taken with her and she rises to be the centerfold in the August '79 issue. As she gains more success, his possessiveness drives him mad with jealousy.

While Hemingway is the title character, this is Eric Roberts' movie. She is very capable as an innocent. He is doing the heavy lifting. He makes this a difficult watch. It's uncomfortable and disturbing not in a fun way. He is super creepy without any rooting interest. Legendary choreographer Bob Fosse steps out to direct this. He has a very intriguing list of directing work and shows that he is drawn to edgy material. This is not for everyone and I suggest a long shower to wash away the Eric Roberts of it all.

I already had previous knowledge of Dorothy Stratten and her creeper husband, Paul Snider. Going into this film, I knew ultimately how it would end. This was a very disturbing film. Poor Dorothy, some innocent kid plucked out of Dairy Queen by Paul Snider, a low-rent pimp and promoter. He tried to make himself look and act cool, but he just came across as creepy and desperate. He desperately wanted to be part of a higher class of people, aka, richer people, but most people saw through him for what he really was--except for tragic Dorothy. Snider saw how naive, young and innocent she was and preyed upon her.

Despite everyone warning Dorothy, Snider is able to emotionally manipulate her into staying with him. She owed it to him for discovering her. Hugh Hefner gives Dorothy her big break after making her the August Playmate of the Month in 1979. He tries to warn her about her husband. I also get the sense that Hefner tried to protect her from Snider by not inviting him to the Mansion. Apparently Hefner did not like Cliff Robertson's portrayal of him in this film. I didn't really see what there was to object about. Robertson's portrayal was fine and even empathetic. It didn't seem over the top in the least.

I thought Mariel Hemingway did an excellent job as Dorothy. She was able to bring the right level of naivete and sexiness to the part. I liked how her Dorothy evolved from a shy, conservative teenager to a more assertive young woman with a promising career ahead of her (albeit, a Playmate's career I imagine, doesn't last a lifetime). Dorothy was learning to stand-up to her husband, but unfortunately, her caring nature proved tragic in the end.

It's probably not something I would want to see twice.

Whitin this shockingly beautiful docudrama there is a performance by Eric Roberts that goes beyond anything we had ever seen an actor do on screen. He explodes in front of our eyes. Fearless, horrible, pathetic, sad but above all truthful. With the kind of truth we're not use to deal with. I was horrified because I understood it, like James Mason in Lolita. I'm not sympathising with him but I'm understanding him. The counterpart to Roberts's human monster is not Mariel Hemigway's beautiful Dorothy Stratten but Carroll Baker as Dorothy's mother. We can tell by looking into her face that she knows. She knows,she senses, she fears to be right because there is so little she can do. Carroll Baker's superb portrayal represents us. We dread what she dreads and like her, we're impotent to the unavoidable. Star 80 is a masterpiece. Like all of Bob Fosse's work, nothing is casual. The puzzle that he presents us with, connects the dots in a twisted, although immediately recognisable, pattern, leading inexorably to the most excruciating domestic tragedy. From Othelo to O J Simpson. Our every day horror served cold as a shattering work of art.

The slimy underbelly of the entertainment industry and the destruction that so often comes along with fame was a theme that lurked behind every movie Bob Fosse made, and it's at its most obvious and aggressively nasty in "Star 80."

Eric Roberts plays Paul Snider, a sleazy hood who discovered Playboy centerfold Dorothy Stratten and then murdered her and himself in an obsessive rage. It's a heartbreaking, violent and disturbing story on many levels; however, the saddest thing about it is that Stratten wouldn't be worth making a movie about if she hadn't been murdered in the first place. What does that tell you about the lure of celebrity?

Roberts gives a fierce performance as Snider -- he was a very good and almost completely overlooked actor. Mariel Hemingway plays Stratten, and she's rather vapid, which is all the role really requires. Fosse was not able to keep his cynicism and bile at bay, and so while the movie is accomplished, it's also downright unpleasant to sit through. It's as nihilistic as "All That Jazz" but without the flashy production numbers to add some variety.

Grade: B

I can't think of a person who better fits the description 'sleaze' than Paul Snider (Eric Roberts), well, with the possible exception of the current guy in the White House (ok, that was a cheap shot but hey, honestly). It's a great performance from Roberts but that's just it, he's so disagreeable to watch and I just wish his character's life wasn't so much the focus of this film, even if he isn't portrayed in a flattering light. Mariel Hemingway is reasonably good as Dorothy Stratten I suppose, but I thought she was a little too listless and naïve in her characterization, and there's something sad to me about her taking a role in film dealing with such misogyny fresh off of breast enlargement surgery. It felt like too much of the appeal of the film was reveling in the various nude shots of her that are sprinkled throughout the film, and not enough about who Dorothy Stratten the human being really was. For the most part, the film steers clear of a broader indictment of the industry or of the men in power; for example, Hugh Hefner (Cliff Robertson) is shown mostly as a wise and benevolent father figure, though I appreciated how near the end Fosse drew a small parallel between how Snider finds and grooms this young woman and how Hefner operated. It's not nearly enough though.

An excellent film. Fosse's direction is flawless as he takes us inside the world of a controller who loses his grip and power. Mariel is wonderful as Dorothy Statton. Eric Robert's performance is of Oscar Caliber quality -- his portrayal haunts you and you can see his weakness -- you hate him, but a part of you can almost feel sorry for him until his real intentions are suddenly realized. This film was very well-done and deserves to be seen. This was Fosse's last film and it deserves to be seen. From the first frame, one is drawn into a spiraling cycle of destruction. Mariel's performance is perfect as she creates the naive young girl who as she changes into a more wordly woman who wants to explore life and all the possibilities which are opening for her. Much like A Star Is Born, this account of one Hollywood partner gaining fame as another falls. Not for the squeamish.

I remember seeing "Star 80" in the theater (Bellerose, NY). I've seen it a few times since but not that often. It's too much of a downer. I watched it today and it is a good movie but it's also a sleazy movie. An innocent girl gets drawn into the world of pornography and it ends up destroying her. It's a sad but, unfortunately, not an uncommon story. Dorothy Stratten had a chance to break into main stream entertainment but that was not guaranteed. As far as the acting goes, Eric Roberts does a nice job. Mariel Hemingway looks great naked but I think she was a little miscast. Overall, "Star 80" is worth seeing but it's a sleazy and sad watch.

When director Bob Fosse set out to make a movie about murdered Playboy Playmate Dorothy Stratten, he obviously saw much of the main plot-potential in Stratten's deranged husband/manager Paul Snider...and, distressingly, that's who he seems to identify with throughout. The picture's narrative is immediately shaky because Fosse has no interest in seeing both sides; Stratten is just a pawn in the proceedings. Fosse views Snider as a derailed dreamer who thought he finally found fame and fortune (via his wife), and the built-in apologia for Snider's behavior feels sleazy. Eric Roberts is hard to take as Snider, spitting out his lines while twisting his face in rage, while poor Mariel Hemingway is hardly given a chance (and when her moments come, she's sluggish and unsure). The editing is fairly tight, going back and forth in time while creating palpable dread, though the bloody flash-forwards are numbing, and Fosse's documentary style (derivative from his "Lenny") eventually exhausts itself. What was Fosse's point? That Paul Snider was the ultimate victim? Absurd! ** from ****

This was probably Eric Roberts' best movie. He steals the show as the sleazy, small-time hustler Paul Snider. Snider aches to be the big-shot, the real "Star 80" but is a failure at everything he tries---except when he gets Dorothy Stratten recognized by Playboy. Then, just as things might break through for them, Dorothy dumps him for a film director (in real life, Peter Bogdanovich). Of course we know the rest---sleazeball Snider kills Dorothy and himself.

Bogdanovich wrote a scathing book about the case, "Death of the Unicorn" in which he lam basts Hugh Hefner (no more invitations to the mansion for him). What is really weird is that Bogdanovich later married Dorothy Stratten's younger sister, who was in junior high when Dorothy was killed.

This movie has some very strong performances in the lead roles. I really feel like the actors understood the real life people and watching this movie is like watching home movies of the real people. It is told simply through flashbacks. There isn't a lot of glorification or exploitation in the movie. The life of the lead is told in matter-of-fact terms.

This is a very well made movie.

Mariel Hemingway stars in Bob Fosse's "Star 80", a film based in part on the Pulitzer Prize winning article "Death of a Playmate", and portrays the events that led to the 1980 murder of Dorothy Stratten. Even though Hemingway gets top billing and the film's title refers to her character, the main story falls fully on Eric Robert's shoulders, as the charismatic loose canon that "discovers" her.

Roberts brings a gravitas to the smarmy, manipulative, and ultimately violent Paul Snider. His performance is the most engaging part of the film, and unfortunately leaves the viewer wondering whether the movie is little more than a means to show the killer as a three-dimensional individual, thereby making him the only fully formed character in the piece.

Hemingway plays Stratten as a one-note naive, easily victimized young woman. It's a decent performance, but she has so few expressions and lacks any real presence that it's a wonder anyone would be so enamored with the woman she plays, and at points her performance is so familiar it feels as if she's back on the set of "Manhattan", the film she was in a few years earlier.

The most misguided performance, though, is Cliff Robertson's Hugh Hefner, who brings little more than a pipe and a bathrobe to the proceedings. It would be unreasonable to assume an actor would mimic everything about a real person, but his take on Hefner was so wrong that supposedly "Hef" himself sued after this film's release.

"Star 80" is certainly not the fluff of the quickly tossed together made for TV movie with Jamie Lee Curtis as Stratten, but for something that obviously had something to say about celebrity and those that struggle to gain it, it hit far short of it's mark.

The life and death of Playboy bunny Dorothy Stratten - "Movie of the Week" style.

This is sad: A young life was stubbed out and she is barely in her grave before some film producers who want to dig her up in order to bury her again!

All in the name of a Hollywood quick buck. Not unique - far from it - but sad all the same.

Sex is being used to sell a film (look at the soft-core poster), but in reality it is a fraud. There is some sex-and-nudity, but it is not sexy. Indeed it is just a clichéd wages-of-sin morality play - done by old pros that that can only move the furniture about a bit in the vain hope of disguise.

(And the above isn't a spoiler, by the way, the film's own promotion went out of its way to tell you how it turns out - probably because the end is as well known as the sinking of the Titanic!)

There is nothing worse than a film born in to bondage (in the original sense of the word!) Young virgin girl is corrupted by sleaze ball who takes her dignity and, after much boring filler (which includes actually marrying her), her life.

In all films about people involved in the "adult business" the woman doesn't want to do it and only agrees to it because of some big-bad-male-pimp. Why are there are never any women that WANT to do it? Women that throw their clothes off and say "get some film in that camera and shoot me baby!"

(Let me answer my own questions - because that would throw away one of the few threads of drama these movies-by-numbers have!)

There is some good acting here and the saddest thing is that Eric Roberts (big-bad-pimp) comes out of this the best simply because he is the best actor. Forget the poster he seems to be the central character!

Shame how he lost it in the end - he should have realised that there were plenty more lying, cheating, bleach blonde bimbos in the world and moved on to the next one. Like the real pimps do.

story. This film is most interesting because of the era it depicts; ("you are what you drive, you should have your first million by age 35") etc. The 80's are fun to look back on, but living it was not necessarily great, unless you could "keep up with the Joneses".

Eric Roberts is very believable as Paul Schneider, a promoter who met Dorothy Stratten (while she was a kid working at a local Dairy Queen, in Canada), brought her to Hollywood, and resented her eventual success. Her shooting star to fame resulted in eventual tragedy.

Mariel Hemingway is believable as Stratten, although the truly innocent act is a bit hard to buy. Cliff Robertson portrays Hugh Hefner, a faded figure today, but still virile in the 80's.

The Roberts character is initially sleazy, then desperate, then pathetic. Apparently Paul Schneider could not keep up with Stratten, became overly possessive, and jealous of her success. She became involved with director Peter Bogdanovich, and this was the beginning of the end for Schneider.

The back-story of Hollywood in general and the rat race to stay on top, is very accurately presented. Schneider eventually tried to steal Stratten's name, to license her name and profit from her. When she had had enough, and no longer needed him, he took her fate in his own hands. The finale is stark and realistic. 9/10.

My mother was so facinated that i liked movies that exposed something. She said his movie blew her mind back in the day. I didnt want to laugh and say "Mom alot more has been exposed since these days", so endured watching this silly little movie. Not bad and realistic.

Star 80 (Bob Fosse, 1983) – based on the true story of tragic fated Playboy's Playmate of the Year Dorothy Stratten, played by Woody Allen girl (REALLY a girl, anyone who's seen Allen's Manhattan would agree =/) Mariel Hemingway. It follows the story of how Stratten came to meet her murderer: her husband Paul Snider, played by Julia's big brother, Eric Roberts. Directed by Bob Fosse, whose films' like Cabaret and All That Jazz I've loved in the past for their decadent depictions of love, sex and show, the film starts by showing us the decay and the progress of Snider's anger, as he one day meets Dorothy and starts seeing her as an opportunity for success. What Fosse achieved in Cabaret and All That Jazz so effortlessly was that the flow of those films seemed invisible: they're both rather lengthy, they're both kind of raunchy, yet the energy in which he brings into his actors and into his direction make it all look so easy. Unfortunately, this is not the case for this film. Often we see the story fractured by interviews of people who knew Dorothy or Paul, trying to tell us things we're kind of already seeing in the film by these small character's reactions. By this Fosse seems willing to capture a documentary feel into the film, but it just seems unrealistic, not to mention some of the dialogues of these faux-interviews just come out so unnatural, and the saddest of all, it breaks the rhythm of the film considerably, which like I've already said seems to be Fosse's forte. Another glaring flaw in the picture seems to be some sort of unintentional sadism in the way the story's being told: rushedly shot only 3 years after the incident, the decision of filming the tragic climax in the same department where the real Dorothy Stratten was murdered, are often very obvious aspects the film never tries to hide even though it should, and the result just seems exploitative, and for the audience, downright unpleasant. But if the film does excel in some departments, it's in the acting: Mariel Hemingway rises above the script's lazy decision of never showing why Dorothy cares so much about the schlub, and with limited subtle stares and soft voice makes us understand that perhaps despite the uneasiness Paul provokes on her, there's an understanding and sympathetic feelings that make her try to handle the situation as long as humanly possible. On the other hand, and with an entirely different style of acting, there's Eric Roberts, who despite the screenplay's attempts to show the guy's situation in a sympathetic manner, never gives in into clichés and just shows Paul Snider's inner demons with such a pathos and in such a convincing way that he achieves a coldly truthful, honest, yet effortlessly transparent portrayal of this pathetic, sleazy man. All in all, a rushed, lazy and unpleasant project about a story that should have never been told, but that works as an acting showcase for both its stars just perfectly, they're the reason to at least give the film a try. Rating: C

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.

Watched it when I was too young to critique it but still thought it was pretty lousy. Just saw it again today. It was worse than I remembered. Fosse. Overrated.