Bob Fosse’s biographical drama Lenny (1974) spotlights the controversial cult comedian Lenny Bruce, whose provocative and groundbreaking act foreshadowed contemporary stand-up and directly inspired the likes of George Carlin, Richard Pryor, and Bill Hicks. Much like Fosse’s subsequent autobiographical film All That Jazz (1979) would mercilessly strip down his own faults, quirks, and foibles, so too does Lenny provide a surprisingly blunt, often unsympathetic view of its own subject. It is a sensational film, and thanks to a new remastered bluray release from Imprint Films it is available for a much-needed reminder. There seem to be many 21st-century cineastes that are unaware of Fosse’s films and talents; this must change.

Born in 1927, the multi-talented Fosse worked as an actor, a dancer, a choreographer, and a director for both stage and screen. He directed five feature films between 1969 and 1983; Lenny is his third work, following Sweet Charity (1969) and Cabaret (1972). Lenny has a lot in comparison with the latter work. Like Cabaret it cleverly folds Lenny Bruce’s routines into the film, not simply on a narrative level but a structural one as well. It also extensively employs faux documentary techniques and flashbacks. The film is adapted by Julian Barry from his own play, and while its theatrical origins are obvious in the viewing it is finely transformed to take advantage of the film medium.

The structure of Lenny is well-designed to showcase Dustin Hoffman’s excellent performance in the title role. It is more than mimicry: he infuses Bruce with a nervous energy that electrifies the performance scenes and enriches the behind-the-scenes moments. He successfully digs below the comedian’s notoriously foul-mouthed act to create a three-dimensional person beneath it. He also engages with his own Judaism, and emphasises the real Bruce’s own work addressing America’s melting pot of races and ethnicities.

Valerie Perrine plays Honey, Bruce’s girlfriend-then-wife. Prior to this film, my only exposure to Perrine has been her thankless role as Miss Tessmacher in Richard Donner’s Superman (1978). While initially she seems set to fill a similar sort of ‘eye-candy’ role, the narrative develops to give her a character of enormous flaws and depth – and Perrine proves herself an able talent at relating them to the audience. It is a strong piece of acting that grows and develops with the film. It is quite the eye-opener.

If the film has one key flaw – and I think it probably does – it is that neither Barry’s script nor Fosse’s direction quite manage to pin down Bruce’s importance to American culture. He was not overtly successful in his own time, but rather found a place as an inspiration for more successful comics down the road. It is worth heading into the film with at least a broad knowledge of Bruce’s career and influence; as it stands the film seems to assume the audience is already familiar with him. It 1974 more people in the audience probably were.