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Storyline

Paul Snider is a narcissistic, small time hustler who fancies himself a ladies man. His life changes when he meets Dorothy Stratten working behind the counter of a Dairy Queen. Under his guidance Dorothy grows to fame as a Playboy Playmate. But when Dorothy begins pursuing an acting career, the jealous Paul finds himself elbowed out of the picture by more famous men.

Released

1983-11-10
Revenue

$6,472,990
Budget

n/a
Runtime

1hr 43m
Genre

Drama
Status

Released
Language

English
6.8
Production

The Ladd Company, Warner Bros. Pictures

Crew

Bob Fosse

Director

Bob Fosse

Screenplay

Wolfgang Glattes

Producer

Keywords:

violent husband biography playboy fame vancouver centerfold disturbed aggressive somber cautionary antagonistic arrogant callous condescending demeaning derisive

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Cast

Mariel Hemingway

Dorothy Stratten

Eric Roberts

Paul Snider

Cliff Robertson

Hugh Hefner

Carroll Baker

Dorothy's Mum

Roger Rees

Aram Nicholas

David Clennon

Martin "Geb" Gebber

Josh Mostel

Private Detective

Lisa Gordon

Eileen

Sidney Miller

Nightclub Owner

Keith Hefner

Photographer

Tina Willson

Bobo Weller

Shelly Ingram

Betty

Sheila Anderson

Exotic Dancer

Cis Rundle

Meg Davis

Kathryn Witt

Robin

Jordan Christopher

Peter Rose

James Luisi

Roy

Neva Patterson

Playboy Executive

Robert Fields

Director

Keenen Ivory Wayans

Comic

Sandy Wolshin

Woman M.C.

Robert Perault

Actor

James Blendick

Gunseller

Jacqueline Coleman

Nightclub Dancer

Don Granbery

Bartender

Stuart Damon

Vince Roberts

Ernest Thompson

Phil Wass

Budd Friedman

Emcee

Deborah Geffner

Billie

Norman Browning

1st Detective

Hagan Beggs

2nd Detective

Bobby Bass

1st Hood

Gilbert B. Combs

2nd Hood

Terence Kelly

Charlie

Tabitha Herrington

Blonde

Dean Hajum

George

Dan Zeleski

The Jock

Paul Ryan

Radio Interviewer

Michael Joel Shapiro

Playboy Assistant

Fred Pierce

Head Butler

John Horn

Nightclub Owner L.A.

David W. Rose

Assistant Director

Stanley Kamel

Nick

Liz Sheridan

Makeup Woman

Liis Kailey

Aram's Assistant

Robert Picardo

Interviewer

Erica Yohn

Interviewer

Marilyn Madderom

Editor

Lonny Chin

Playboy Mansion Guest

Venus Pinkston

Playboy Mansion Guest

Tracy Vaccaro

Playboy Mansion Guest

Michele Hill

Playboy Mansion Guest

Kim St. Leon

Playboy Mansion Guest

Sulinda Watson

Playboy Mansion Guest

Cathy St. George

Playboy Mansion Guest

Katrina von Splawn

Playboy Mansion Guest

Carol Hills

Playboy Mansion Guest

Kristine Garbo

Playboy Mansion Guest

Catherine Gilmore

Playboy Mansion Guest

Charlene Howell

Playboy Mansion Guest

David Cameron

Paul's Party Guest

Stacey Toten

Paul's Party Guest

Michael Levittan

Paul's Party Guest

Lorraine Michaels

Paul's Party Guest

Bonnie Kanner

Paul's Party Guest

Toni Petrie

Paul's Party Guest

Don Jones

Getaway - Prom Band

George McKensie

Getaway - Prom Band

Martin Eade

Getaway - Prom Band

Jim Cross

Getaway - Prom Band

Don Kitchen

Getaway - Prom Band

Rick Webb

Getaway - Prom Band

Peter Ohrnberger

Getaway - Prom Band

Daniel Keough

Playboy Mansion Guest (uncredited)

Tina Tyler

Playboy Mansion Guest (uncredited)

Gwen Welles

Playboy Mansion Guest (uncredited)

Alison Brown

Playboy Mansion Guest (uncredited)

Sam Behrens

Businessman (uncredited)

Videos and Photos

Movie Reviews

Reviews for Star 80

A Review by adorablepanic 7

Written by adorablepanic on 2020-04-12

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 a... read more

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.