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Tootsie follows Michael Dorsey (Dustin Hoffman), an unemployed actor that's been "blacklisted" for being a perfectionist and hard to work with. Desperate for money, he assumes the persona of Dorothy, a middle aged, feisty woman, in order to land a job in a soap opera. Of course, things get complicated when "she" becomes a star, while also falling in love for "her" main co-star (Jessica Lange).
This is a film I didn't feel that drawn to; I probably wouldn't have seen it if someone hadn't recommended it to me, but I'm glad I watched it. However, I won't deny that I had some significant issues with how the plot develops, but for the most part, it was an enjoyable watch, well acted and with some important and still relevant points to get across about the treatment of women in the workforce, and in general.
The thing is that it has to be a man the one that tries to get those points across. I like that the experience serves as a moment of introspection for Michael and how he himself views and treats women, but when it comes to the larger point of how women are seen and treated in the workforce, and how they react, the fact that a man is the catalyst for this "change" kinda muddles the message.
In addition, there is no proper balance in terms of male vs. female characters. Michael/Dorothy interacts primarily with two female characters: Sandy (Teri Garr) and Julie (Lange). The former is a well-intentioned, female friend with whom he gets "accidentally" involved. Unfortunately, she ends up being used as a bit of comic relief in the end, and comes up as a bit of a hysterical, while Julie, although a more balanced character, still comes off a bit underdeveloped and ultimately needy.
Finally, I don't think the conclusion was properly executed. The character of Sandy, regardless of how important seemed to be, ends up being unceremoniously dismissed, and the resolution to Michael/Dorothy's predicament felt haphazardly executed. Despite those issues, the acting is solid. Dabney Coleman, who was quite a presence in the 80s, is great as a sexist director, and so is Bill Murray, who I didn't even know was in this, as Michael's roommate.
But the key to the film is Hoffman. Not only is he perfect in the role, but he also seemed to be a driving force behind the film's production. Hoffman, who oversaw the writing process, said in an interview that the film helped him reevaluate how he related to women. He said he found the character of "Dorothy" to be interesting, but argued that he would not have spoken to her because she was not beautiful, which led him to realize how many interesting conversations he had missed. For a man that must've met hundreds/thousands of women, it's weird that it took a meeting with a "man" to realize it.
Grade:
TOOTSIE
(1982, Pollack)
A film from Sydney Pollack
(1982, Pollack)
A film from Sydney Pollack
"I am Dorothy. Dorothy is me. Nobody's writing that part. It's coming out of me."
Tootsie follows Michael Dorsey (Dustin Hoffman), an unemployed actor that's been "blacklisted" for being a perfectionist and hard to work with. Desperate for money, he assumes the persona of Dorothy, a middle aged, feisty woman, in order to land a job in a soap opera. Of course, things get complicated when "she" becomes a star, while also falling in love for "her" main co-star (Jessica Lange).
This is a film I didn't feel that drawn to; I probably wouldn't have seen it if someone hadn't recommended it to me, but I'm glad I watched it. However, I won't deny that I had some significant issues with how the plot develops, but for the most part, it was an enjoyable watch, well acted and with some important and still relevant points to get across about the treatment of women in the workforce, and in general.
The thing is that it has to be a man the one that tries to get those points across. I like that the experience serves as a moment of introspection for Michael and how he himself views and treats women, but when it comes to the larger point of how women are seen and treated in the workforce, and how they react, the fact that a man is the catalyst for this "change" kinda muddles the message.
In addition, there is no proper balance in terms of male vs. female characters. Michael/Dorothy interacts primarily with two female characters: Sandy (Teri Garr) and Julie (Lange). The former is a well-intentioned, female friend with whom he gets "accidentally" involved. Unfortunately, she ends up being used as a bit of comic relief in the end, and comes up as a bit of a hysterical, while Julie, although a more balanced character, still comes off a bit underdeveloped and ultimately needy.
Finally, I don't think the conclusion was properly executed. The character of Sandy, regardless of how important seemed to be, ends up being unceremoniously dismissed, and the resolution to Michael/Dorothy's predicament felt haphazardly executed. Despite those issues, the acting is solid. Dabney Coleman, who was quite a presence in the 80s, is great as a sexist director, and so is Bill Murray, who I didn't even know was in this, as Michael's roommate.
But the key to the film is Hoffman. Not only is he perfect in the role, but he also seemed to be a driving force behind the film's production. Hoffman, who oversaw the writing process, said in an interview that the film helped him reevaluate how he related to women. He said he found the character of "Dorothy" to be interesting, but argued that he would not have spoken to her because she was not beautiful, which led him to realize how many interesting conversations he had missed. For a man that must've met hundreds/thousands of women, it's weird that it took a meeting with a "man" to realize it.
Grade: