For a film with such a troubled production history, Tootsie emerges as a surprisingly polished, tightly plotted comedy. Despite numerous rewrites, a turnover in directors, and some off-screen conflicts between star Dustin Hoffman and director Sydney Pollack, its all the more remarkable that Tootsie is so successful.
The film is like a well-oiled machine. Everything about it works. Right down the middle. From its inspired ensemble casting to its slick direction and witty script, Tootsie has endured for 25 years and is still going strong.
Of all the films Dustin Hoffman has starred in, this surely must count as his finest. Perhaps because the character of Michael Dorsey so neatly captures aspects of Hoffman in real life.
In the opening scenes, Michael is shown as an exacting method actor. He has tremendous range, an incredible variety of vocal chords, and a lot of interesting ideas. But they're ideas at odds with every director and co-star he works with.
Michael may be a terrific actor, but he's rubbed a number of people up the wrong way through his constant critiquing and reinterpretations of the parts he's supposed to be playing. This has all given him a very bad reputation. And its gotten to the point where nobody in Hollywood will hire him.
Now of course Dustin Hoffman has been constantly employed for the past 40 years. But everything else I said about Michael is pretty much the story of Hoffman's life. And its that key that allows Tootsie to flow as smoothly as it does.
Hoffman must realise on some subconscious level he's playing a character not all that far removed from himself. And that's the genius of Tootsie. We already know and identify with Michael Dorsey, making it that much easier to go a further distance and identify with his alter ego, Dorothy Michaels.
Michael hits on the idea if he can't get work as a man, maybe he can get work as a woman. So he invents Dorothy Michaels. A ballsy, brassy Southern belle with an acid tongue and opinions aplenty. And the ruse works! 'She' becomes the new hospital administrator on daytime TV's hottest soap opera, Southwest General.
But what happens when Dorothy becomes an unexpected success? And the studio refuses to release Michael/Dorothy from his/her contract? The result? An hilariously madcap series of neverending complications!
Tootsie is not the first film of course to tackle the themes of cross-dressing. But its every bit as accomplished as Some Like It Hot. Tootsie is a film I find very difficult to dislike. It's such a good natured film. And disarming in its ways. I've never met a single person who didn't find something to enjoy about Tootsie.
The delights come from a wide variety of areas. Not only does Sydney Pollack's direction move at a marvellous gallop, but the wonderful cast breathes such life into an already witty screenplay. Its the efforts of everyone involved that gives Tootsie such spirit.
Dustin Hoffman's performance is quite faultless. Not only does he excel as Michael, but he pulls out all the stops and turns Dorothy into a completely different person altogether. But its not just on Hoffman's shoulders. The rest of the cast do their part too.
Tootsie has one of the most wonderful ensemble casts I've ever seen in a comedy. They all add something. And not a single actor is wasted. Jessica Lange turns in a nicely defined performance as Julie Nichols, Dorothy's co-star on Southwest General. The woman he falls for. Something that only adds more complications to Michael's life.
Teri Garr does a wonderfully ditzy performance as Michael's neurotic girlfriend Sandy, who becomes more and more flustered by his increasingly odd behaviour. Dabney Coleman's on fine obnoxious form as Ron, the director of Southwest General and Julie's two-timing boyfriend. And Charles Durning adds a bit of sweetness as Les, Julie's father who falls for Dorothy. Talk about a bizarre love triangle!
In a nice touch, Sydney Pollack also co-stars as Michael's exasperated agent George. Their disagreements so obviously mirrors the exact same thing that occurred between Hoffman and Pollack off-set. But they're just as funny as anything else in the film. Also look out for an early appearance from Geena Davis as one of Southwest General's hospital sluts.
But of course its the wonderful Bill Murray who steals every scene he's in as Michael's laidback laconic roommate Jeff. It sometimes seems like Jeff is the sanest person in the entire film. His dry observations on the shifting complications in Michael's life are positively sidesplitting. And his response to walking in on Dorothy and a male co-star making out holds one of the funniest lines Murray has ever delivered in his entire illustrious career.
Pollack's direction is right on the nose, allowing Tootsie to glide from one classic scenario to the next. I'm especially partial to the part of the film where Dorothy has to babysit Julie's daughter, go on a date with Les, and fight off the sex-starved affections of a co-star all within the course of a single night.
But Tootsie is a screwball comedy with a heart. Its not only an hilarious pileup of spiralling difficulties, but an extremely touching love story. Michael loves Julie, but she only sees Dorothy. There are many character arcs surrounding Hoffman and Lange, but they're relationship is the heart and soul of the picture. And everything converges beautifully in the final ten minutes. When Michael unmasks himself on live TV! And professes his love for Julie. His confession is not only sweet. But funny too.
Tootsie is a true classic. It fires on every cylinder. Hits every target. And provides non-stop laughter, heartfelt moments where you least expect them, and even finds the time to gently satirise soap operas and they're often quite ludicrous plot lines.
Unmissable entertainment!
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