Tootsie

Dustin Hoffman and director/producer Sydney Pollack played with cross-dressing, gender roles and to some degree sexism in this 1982 megahit, the second-highest grossing movie of the year in the United States (after E. T.). The film is not particularly probing or controversial - not by today's standards, and arguably not by 1982's either. At least not beyond the very sight of Dustin Hoffman dressing up as a woman. Tootsie is not an opinionated piece; it's a simple romantic comedy with a creative, fun angle. And it's rather comfortable in that skin, perhaps even complacent. Dustin Hoffman's lead performance is devoted and rather sweet. Although his Dorothy Michaels is an outdated woman from the pre-sexual revolution era, whereas his Michael Dorsey is a modern 40-something of the 1980s, Hoffman still is able to make Dorothy into some kind of throwback feminist icon, if for no other reason than that (s)he speaks up. Some detractors may of course have balked at the idea that the film suggests women needed a man to do just that, but the picture is far too gullible to be accused of such schemes or ambitions.

Among some cross-dressing romance movies, 'Tootsie' has the most organized and simplest development. According to a few others I've watched, stories that can happen from cross-dressing are more than enough, but writers try to add more happenings, stories, comedies, turning movies unnatural and artificial. However, 'Tootsie' stays focused on Michael and Julie's love story. The story itself is not original or fresh; you've heard it a few times. However, out of those stories, 'Tootsie' feels most original.

This movie just has to be one of the greatest comedies ever made. It is hilirious. Struggling and notoriously hard to work with actor Michael Dorsey (Dustin Hoffman) takes on the role of a woman in a daytime television soap opera, basically because he cannot get any more jobs as a male actor due to his reputation. The fun starts early on in the film with Dorothy Michaels appearing in the New York crowd suddenly and going for the script reading. From then on the film is sentimental, touching, dry and absolutely side-splittingly funny. The other actors/actresses in the film really do make it work. It is brilliantly cast with comedic moments from Teri Garr, Dabney Coleman, Charles Durning and the ever-brilliant and sarcastic Bill Murray. I wasn't even born until two years after the movie came out, but it's still so fresh and full of life after 22 years that you just have to love it. It's definately a five star for this. ***** out of *****

Tootsie (1982)

**** (out of 4)

Michael Dorsey (Dustin Hoffman) is an unemployed actor who is told by his agent (Sydney Pollack) that there's no one in the country that will hire him due to his attitude. Dorsey, seeing this as a challenge, decides to dress as a woman calling herself Dorothy Michaels and gets a job on a soap opera where he strikes up a relationship with one of the stars (Jessica Lange) on the show. As more and more pressure begins to mount, Michael must decide how to get out of the woman's outfit and reveal the truth.

TOOTSIE is in my opinion one of the greatest comedies of the decade and I'd go even further and call it one of the greatest comedies ever made. There are so many wonderful things in the film and it works on so many levels that it's almost shocking when you look back at the film and see how wonderful it is. Not only does the "comedy" of a man dressing as a woman work but the film is more than just laughs as it hits on what it means to be an actor struggling to get work but there's also a lot of heart to the film and there's certainly many underline themes dealing with the differences between men and women.

There are a lot of great things in this movie but there's no question that the true magic belongs to Hoffman who turns in one of his greatest performances. It's rather amazing to see him work here because he's basically got two different characters that share certain things but in the end they have to be separate characters. What impressed me the most was how believable he was as the female character. Not only does the supporting characters have to be able to believe he's a woman but the magic comes because when you see Hoffman as the woman, you believe it to. I think it's somewhat fitting that during the closing credits the character gets separate credits as does Hoffman. I think his performance as the woman is so great that many probably would believe that a real woman was playing her.

The supporting cast is wonderful as well with Lange certainly deserving her Best Supporting Actress Oscar. She gives her character so much heart and pain that you can't help but root for her. Dabney Coleman and Charles Durning are both terrific in their roles as is Teri Garr who is downright hilarious as a somewhat psychotic friend. THen there's Pollack who is simply great as the agent. Bill Murray gives one of his greatest performances here because the story itself is quite out there yet his dry one-liners are just so hilarious that you can't help but have tears running down your face.

Again, the film works perfectly as a comedy but it's so much more than that. The relationship between Dorothy and her co-worker is very believable and the various twists that happen in the plot seem real and they're never forced. The comedy comes in a very natural way and the realistic characters seem real and not something faked or made up. To me TOOTSIE is a flawless movie that manages to get funnier the more times you see it, which is something hard for a comedy to do.

Remember when comedies used to be actual movies with actual stories with actual points and the funny just flowed out of them, instead of just a flimsy excuse to string together jokes and funny scenes and stock situations? Yeah, me too. What happened?

If you're in the mood for a great movie that will get you to cough up a boatload of honest laughs, then you ain't gonna do better than TOOTSIE. You are not going to find a better written, acted, and directed comedy anywhere. There are plenty as good - but none better. This is a career highpoint for all involved, and when "all" includes names such as Sydney Pollack and Dustin Hoffman, you know that's a sentiment that carries some significant weight.

And it just reaffirms the old adage that every single comedy should have Bill Murray in it.