Tootsie (1982)
Directed by Sydney Pollack
Written by Larry Gelbart, Murray Schisgal
Starring Dustin Hoffman, Jessica Lange, Bill Murray, Teri Garr, Dabney Coleman
Release Date December 17th, 1982
Published August 8th, 2018
August 8th is Dustin Hoffman’s 81st birthday and while his behavior on movie sets and Broadway backstages has drawn a storm of controversy amid the Me Too movement, his movies remain indelible parts of our shared film history. One film, that has been rendered somewhat ironic given the recent revelations about Hoffman’s behavior, is Tootsie, the 1982 comedy in which Hoffman plays a struggling actor who turns to cross-dressing in order to land a breakout role on a soap opera.
One might assume that having proverbially walked a mile in women’s shoes, Dustin Hoffman might be a tad more sensitive to women behind the scenes. Regardless, Tootsie remains a fascinating, somewhat ahead of its time examination of gender roles and sensitivity. For the record, I am not well-qualified to discuss the sensitivity of Tootsie in relation to the LGBTQ issues the film skirts around, just know that I am sensitive and aware of those issues but I will be avoiding them for the most part in this review. If you want to share your opinion about the film in relation to those issues I would be happy to open a dialogue and expand this review with the input.
Tootsie tells the story of a real jerk of a New York actor named Michael Dorsey. Michael is such a pain to work with that most theater and commercial directors no longer will even entertain talking to him, let alone casting him. As his agent, George, wonderfully played by Tootsie director Sidney Pollack relays, Michael can’t even play a piece of fruit in a commercial without causing a row with the director and delaying the shoot for hours.
With few options and prospects in his ever-aging career, Michael decides to do something drastic. Having witnessed his friend and acting student, Sandy (Teri Garr), try and fail to land a role on a soap opera, Michael decides that he knows how to play that female character better than anyone. This leads Michael to put on a dress and makeup and, quite convincingly, portray an actress named Dorothy Michaels.
Here, Michael’s jerk tendencies, leavened by Dorothy’s womanhood, actually works to get him the part and eventually become a breakout character on the show. Along the way, Michael meets and begins to fall for Julie (Jessica Lange), the co-lead on the soap opera. Unfortunately, Julie doesn’t know that Michael is Dorothy and if she and everyone else were to find out, Michael would be ruined.
I’m struck by what a terrible person Michael Dorsey is. Dustin Hoffman plays Michael as a dyspeptic ladies man with a monstrous ego and self-involvement. Michael has few redeeming qualities beyond his obvious passion for performing and his loyalty to his friend, Jeff (Bill Murray), whose play Michael hopes to fund with the money he makes playing Dorothy. Other than that, Michael is a manipulative, whiny, jerk.
I say that, and yet it kind of makes the character work in a strange way. Michael is an authentic character, there is nothing indistinct about him. Michael as Dorothy becomes a slightly better person or, at least, a slightly more caring and sensitive person, seemingly by osmosis. That growth, as modest as it is, is fascinating to watch considering where the character begins the story, as the monster I have been describing.
The supporting cast of Tootsie is a group of epic scene stealers. Bill Murray’s Jeff is inspired. Murray’s deadpan earns the biggest laughs in the movie and his endless charm is evident even in limited screen time. Teri Garr is wonderful as well as Sandy, a lost soul who gravitates toward Michael’s passion enough that she isn’t entirely repelled by him. Garr’s Sandy is the one redeemable quality Michael has, his friendship with her highlights his few good qualities.
On the soap opera side of the movie we have, of course, Jessica Lange, lovely and vulnerable as Julie, Dabney Coleman, Michael’s equal in caddishness, George Gaynes as the bloviating, sexually voracious leading man and Charles Durning in easily the sweetest performance in the movie. Durning portrays Julie’s father who unwittingly begins to fall for Dorothy as Michael is using the Dorothy persona to get close to Julie.
Here is where Tootsie and I part ways. I can’t stand the film’s ending. That Julie would be willing to forgive Michael and the two to have an implied ‘happily ever after’ is far too contrived and narratively unearned. What has Michael done throughout the entirety of Tootsie to deserve to win Julie’s heart? The emotional gymnastics that we are called upon to perform in order to accept this happy ending are far too much to ask of us as an intelligent audience.
Dustin Hoffman is terribly effective at making Michael terrible in unique and fascinating ways but he’s still terrible. As impressive as his double act as Michael and Dorothy is, Michael doesn’t learn or grow all that much in the guise of Dorothy. And that’s not even mentioning the fact that Dorothy is inherently a deception and not an excuse for Michael to learn a valuable lesson. This isn’t an after school special, if the movie were honest in the end, Michael’s punishment would be teaching acting the rest of his life, drawing students to him via his well-earned infamy.
So, do I like Tootsie? Do I recommend Tootsie? Where do I come down on this movie when I have been so heavily critical of the star and the ending of the movie? I appreciate Dustin Hoffman’s performance for how boldly unique it is, truly unlike any leading man performance I have ever seen. It takes nerve not to settle in and play this character as likably difficult. That Hoffman played Michael not as a comic character within what is an unquestionably comic movie, but as a dramatic character in the midst of a sitcom farce, is a boldness I cannot deny being impressed with.
Then there is Sidney Pollack’s exceptional direction. Tootsie is an exceedingly well-crafted film. Tootsie is smart and funny and though its female empowerment message is undermined by the nature of Dorothy as a deceptive character, it is quite a notable moment to see even a fake woman telling men to keep their hands off of her and leading other women to do the same. Then again, do women need a man in drag to tell them to stand up for themselves?
Perhaps we can qualify the compliment to Tootsie and say that the film was progressive for 1982 when the movie was released. For this moment, it’s rather patronizing to have a man in drag as a feminist hero, especially one for whom being in drag is not a statement but merely a scheme. Exceptionally well made but problematic, Tootsie is an essential piece of pop history because it is such a bizarre and unique milestone, one forged and ever-changing over time.
