[7]
Dustin Hoffman stars as Michael Dorsey, a struggling New York actor so desperate to land a job that he transforms himself into a woman to win a part on a daytime soap opera. As Dorothy Michaels, he challenges the show’s misogynist director (Dabney Coleman) and falls in love with a co-star (Jessica Lange) who draws inspiration from Dorothy’s assertive attitude. Dorothy’s character revitalizes the show and becomes a national poster woman for 1980s feminism. But the joy of landing a job wears off quickly when Michael suffers unwanted sexual advances from men both lascivious (George Gaynes) and well-meaning (Charles Durning).
Tootsie is structured and styled like a 1940s screwball comedy. The comedy is never forced, coming intrinsically out of its characters and situations. Hoffman gives a remarkable performance, never winking at the audience and never adopting a tongue-in-cheek attitude. He plays the part with a level of seriousness that allows the film to address very real issues regarding gender and power without becoming too heavy or preachy. By contrast, Bill Murray serves a stand-in for the audience. He plays Michael’s roommate — the only person who knows about Michael’s alter ego, and who tries to reign Michael in when the charade becomes a little all-too consuming.
Sydney Pollack (Jeremiah Johnson, Out of Africa) not only directs Tootsie, but also puts in a solid performance as Michael’s agent. Jessica Lange picked up her first Academy Award for this film, playing a sensitive single mother and fellow actor who begins to fall in love with Dorothy. The film even dabbles with the possibility of a lesbian relationship before Michael ultimately decides to reveal his true identity in the film’s climax. Doris Belack is under-rated as the soap’s producer who takes a chance by hiring Dorothy. Geena Davis (Thelma & Louise, The Accidental Tourist) makes her big screen debut as one of the show’s cast members.
While it’s overall a fun, breezy film, Tootsie is rarely ‘laugh out loud’ funny, nor does it ever fully explore any of its dramatic subtext. It deserves credit for being ahead of its time depicting gender relations, but it really just scrapes the surface. It also resolves predictably, without any third act twists or surprises. The subplot involving Michael’s girlfriend (Teri Garr) brings the movie down. Garr’s character is overly neurotic — the least believable character in the script. For all the time spent on their relationship, it resolves anti-climactically and a little too conveniently.
Academy Award: Best Supporting Actress (Jessica Lange)
Oscar Nominations: Best Picture, Director Leading Actor (Dustin Hoffman), Supporting Actress (Teri Garr), Cinematography, Song (“It Might Be You”), Original Screenplay, Sound, Film Editing