AVALIAÇÃO DA IMDb
6,8/10
8,6 mil
SUA AVALIAÇÃO
Uma jovem modelo tem problemas quando seu obsessivo gerente, agora marido, fica perigosamente ciumento.Uma jovem modelo tem problemas quando seu obsessivo gerente, agora marido, fica perigosamente ciumento.Uma jovem modelo tem problemas quando seu obsessivo gerente, agora marido, fica perigosamente ciumento.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 1 vitória e 4 indicações no total
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
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.
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.
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.
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.
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.
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.
When a performer can make you love and hate their character, feel pity, shame, worry, and all of the above simultaneously, that is great acting. Eric Roberts achieves all this and more ! Only Shirley Booth in "Come Back Little Sheba" and Eric Roberts in "Star 80" have had this kind of impact on me. Incredible film. Sort of off-topic now, but if you look closely, you will see "Victoria Porter" from "All That Jazz" as an auto show "hostess" and the dance mistress/choreographer's assistant, also from "ATJ" as a script supervisor during a movie filming scene. The entire film was very believable! Had a right here, right now feeling to it.
Você sabia?
- CuriosidadesAram Nicholas is a fictionalized version of film director Peter Bogdanovich. Bogdanovich was dating Dorothy Stratten around the time that they collaborated on Muito Riso e Muita Alegria (1981). In this film, the title of that collaboration was changed to "Tinsel Time". This was due to Bogdanovich threatening to sue if he was unhappy with how he was portrayed. Although, all the other films she appeared in had their names changed too, like A Febre dos Patins (1979) to Ball Bearings and Autumn Born (1979) to Wednesday's Child.
- Erros de gravaçãoWhile Paul harangues Dorothy about her upcoming trip to New York while she soaks in the bathtub, her face and hair are alternately wet/dry between shots.
- Cenas durante ou pós-créditosThis film is dedicated to Paddy Chayefsky.
- Versões alternativasABC edited 12 minutes from this film for its 1987 network television premiere.
- ConexõesFeatured in At the Movies: A Christmas Story/Star 80/Running Brave/Streamers (1983)
- Trilhas sonorasOVERKILL
Music and Lyrics by Ralph Burns
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Estrella de los 80
- Locações de filme
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 12.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 6.472.990
- Faturamento bruto mundial
- US$ 6.472.990
- Tempo de duração1 hora 43 minutos
- Mixagem de som
- Proporção
- 1.85 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente