Star 80

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.

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.

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.

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.

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.