Bob Fosse directed five features in 15 years, starting with 1967’s Sweet Charity and ending with 1983’s Star 80. This pace suggests that Fosse was very deliberate in choosing his material, like Stanley Kubrick or Sergio Leone. Yes and no. Fosse was an obsessive artist, but not about movies—or rather, not just about movies. Seeming to believe that dance was the purest way to express joy, Fosse used moviemaking to exorcise joy’s opposites: not just pain, but the obsessive nature of artists—particularly the way attention to detail can cause men to shut themselves off from the rest of the world. On stage, choreographing sexual-playful spasms of intricate movement, Fosse seemed to revel in his naughty-boy sense of play. But on film, he examined the self-destructive component of celebrity and asserted that self-loathing was the driving force of show business.