TOOTSIE (Pollack, 1982)
Criterion Collection, Blu-ray, Release Date November 25, 2014
Review by Christopher S. Long
It's easy to understand why Academy
voters were so enamored of “Tootsie” (1982). A comedy about
hard-working yet constantly unemployed and underappreciated New York
actors struck a familiar chord with the majority of the
constituency, enough so that they showered the film with ten
nominations, unusual for a comedy. That it only took home a single
trophy (Jessica Lange for Best Suporting Actress) is a reminder that
there's still nothing the Academy loves more than a stately
historical epic as “Gandhi” was the big winner of the night.
Perhaps the film's appeal was enhanced
by stories of its long and tortured production. Based on a play by
Don McGuire, the project had already passed through several hands
before coming to the attention of actor Dustin Hoffman. Hoffman, at
the height of his influence after an Oscar for “Kramer vs. Kramer”
(1979), assumed creative control of the project. It remained in
development for a few years before Hoffman brought in a new
collaborator in director Hal Ashby who was later dumped by Columbia
Pictures in favor of director Sydney Pollack. The script, meanwhile,
is officially attributed to Larry Gelbart (of M*A*S*H fame) and
playwright Murray Schisgal but was also the product of contributions
by filmmakers Elaine May and Barry Levinson among others, including
Pollack.
Perhaps the potpourri of writing
influences explains a minor oddity in the screenplay. Most Hollywood
scripts rely heavily on careful planting and payoff; you set up an
element early and then deliver on it later; it creates a pleasing
sense of unity and avoids confusing viewers. In “Tootsie” the
major plot twist comes almost out of nowhere. Frustrated actor
Michael Dorsey (Hoffman) is tired of earning a meager living as a
waiter and occasional acting coach but he receives little support
from agent George Fields (Pollack, in a feisty turn in front of the
camera) who informs him that his reputation is so toxic that nobody
in New York (or anywhere else for that matter) will employ him. One
quick cut later and suddenly macho Michael Dorsey has become the
bewigged Dorothy Michaels strutting awkwardly in high heels along a
busy New York street. An opening shot showing Michael preparing for a
role (as a man) by applying makeup vaguely plants the idea, but the
switch here is remarkably abrupt; the idea of crossdressing has not
even been mentioned. Maybe Hoffman, Pollack and crew figured the
posters would provide all the set-up they would ever need.
![]() |
Dustin Hoffman and Jessica Lange |
Hoffman is the least convincing
cross-dresser since Wile E. Coyote squeezed into a skirt, but this is
a comedy so everyone is wowed by Dorothy when she auditions for a new
role on a soap opera. Fans of the show are equally bowled over and
hospital administrator Emily Kimberly is soon the toast of the town.
Michael devotes even more attention to the role of Dorothy than the
role of Kimberly, using his alter ego to get close to co-star Julie
Nichols (Jessica Lange) and, as the script takes pains to emphasize,
to become a better man (by being a woman.)
I find the story pretty uninvolving but
the film benefits from an exceptional supporting cast. In addition to
Lange, who really shines, there are excellent turns from Teri Garr as
an insecure actress mistreated by Michael, the always reliable Dabney
Coleman as the obnoxious ladies' man director, Bill Murray as
Michael's bemused roommate, Charles Durning as Dorothy's would-be
paramour, and George Gaynes as the vain but good-natured aging male
lead of the soap. Geena Davis doesn't get to do a lot in her debut
role except to look incredibly gorgeous. On the downside, two
prominently featured songs by Stephen Bishop are, um, very '80s, and
I wish you luck with them.
I'm not sure what else to say. A few
laughs, good acting all around. It's pleasant enough though the humor
is pretty safe in a sitcom fashion, designed not to risk offense. The
AFI was moved to select it as their second funniest film of all-time
which is baffling to me, but your mileage may vary.
Video:
The film is presented in its original
2.40:1 aspect ratio. According to Criterion, “this new digital
transfer was created in 4K resolution” and it looks fantastic all
around. Image detail is sharp throughout, colors are rich, and
there's a fine grain structure giving the movie a vividly filmic
look. I can't think of any complaints.
Audio:
The linear PCM mono track is clear and
distortion free. All dialogue is clearly mixed and the music sounds
surprisingly dynamic for a mono mix. Optional English subtitles
support the English audio.
Extras:
The film is accompanied by a commentary
track by Sydney Pollack that was originally recorded way back in 1991
for Criterion's laser disc release of “Tootsie.”
The extras continue with two newly
recorded interviews. First is a revealing talk with Dustin Hoffman
(2014, 18 min.) who reveals himself as quite the perfectionist as
well as someone who can hold a grudge as he still remembers when
critic Rex Reed described him as a “cretin” in “The Graduate.”
We also get a gushing appreciation from Phil Rosenthal (2014, 15
min), creator of the sitcom “Everybody Loves Raymond.” The
Interview section also includes an unused scene from the film (except
briefly seen in a photograph) in which critic Gene Shalit interviews
Dorothy Michaels (4 min.)
The disc also includes two “Making
Of” features.” First is an on-set feature shot by director Rocky
Lang (1982, 34 min.) Second is the lengthier “A Better Man: The
Making of 'Tootsie'” (2007, 69 min.) directed by Charles Kiselyak
and incorporating some footage from Lang's feature. I have only
briefly skimmed both of these.
Criterion has also included nine
Deleted Scenes running 10 minutes total. They are fully edited with
sound but were not used at all in the final cut. We also get two
screen/wardrobe tests. The first features Hoffman in character
(Dorothy is a nurse at this juncture) being interviewed by an
off-screen Hal Ashby. Second is silent footage of Hoffman on set
dressed as nurse Dorothy. These two tests run 7 minutes total.
The extras conclude with three
Trailers, running 3 ½ minutes total.
The fold-out insert booklet feature an
essay by critic Michael Sragow.
Film Value:
The AFI loves it. I think it's... fine. You make
your own call. This Criterion release features a splendid high-def
transfer and a solid collection of extras so if you want the movie,
this is the one to buy.
No comments:
Post a Comment