STAR 80 (1983) is likely considered the least successful of Bob Fosse’s five films as a director. What follows might seem like a criticism of the movie—but that isn't my intention. It’s simply an examination of its shortcomings, which appear to have escaped Fosse's notice. To be clear: I appreciate his work and have seen and enjoyed all of his movies, owning three of them. While my analysis may sound harshly critical, I genuinely enjoy the film enough to revisit it periodically; I would even call myself a fan of Fosse’s films. However, with that said... Aside from one scene where Dorothy and Paul encounter a celebrity at the Playboy Mansion, there's virtually no humor present. I understand the subject matter is sensational and we are aware of the tragic ending beforehand, but I believe establishing some humanity in these characters early on, before things become truly bleak, could have alleviated that monotonous feeling the film possesses. AUTO FOCUS (2002), directed by Paul Schrader, offers an example of a movie where impending death is known, yet laughter is still possible without guilt—though perhaps it starts too cheerfully, a discussion for another time. It seems Fosse made this choice deliberately, repeatedly flashing forward to the murder scene throughout the film. Since most viewers already knew the story, these previews didn't reveal anything new; however, his repeated references to the impending violence create an oppressive atmosphere that inhibits any emotional connection and fosters only a sense of dread. Perhaps that was precisely Fosse’s goal, and if so, he succeeded completely. Mariel Hemingway’s portrayal of Dorothy is problematic, though she does try. In her defense, I don't think Fosse’s script helps her much. Initially, she embodies an appropriate innocence. But by the time she has left home, appeared in Playboy, acted in films, slept with her director, and seen her marriage fail, one would expect at least a touch of cynicism or toughness to emerge. If real-life Dorothy experienced this, Fosse isn’t showing it. Dorothy's character doesn't seem allowed to mature or develop emotionally in any significant way. I hesitate to suggest there's an ulterior motive, but perhaps Fosse kept her character so underdeveloped for a reason. The performances of the other actors are mixed; Eric Roberts performs adequately given what he was asked to do, transitioning from creepy leering to violent creep with skill. The fact that the film opens with his character practicing basic social interaction in front of a mirror, yet still unable to control his hateful impulses even when alone, essentially defines his character arc. He is perfectly acceptable in the role. Cliff Robertson portrays Hugh Hefner with understated subtlety, providing a contrast to Roberts’s aggressive performance. Roger Rees fails to make a memorable impression as the Peter Bogdanovich stand-in. Carroll Baker delivers the strongest performance, conveying the genuine emotions of watching your child descend into a situation destined for disaster. Looking at Fosse's filmography reveals an unsettling thematic progression; each project becomes progressively darker and more preoccupied with death. Even ALL THAT JAZZ (1979), which celebrated Joe Gideon’s/Bob Fosse’s mortality in its final, large-scale production number, fits into this pattern. In a sense, this film served as a fitting conclusion to Fosse's career—a trajectory that began with the optimistic spirit of Charity Hope Valentine and culminated in the horrific violation of Dorothy Stratten. I can only speculate where Fosse’s artistic vision would have led next, but surpassing this level of darkness would likely have resulted in something deeply disturbing.

Source on TMDB