1982

Tootsie.
Premiered December 17, 1982. 
Directed by Sydney Pollack.
Staring Dustin Hoffman, Jessica Lange, Teri Garr, Charles Durning, Bill Murray.
Music by Dave Grusin.



     I was about 6 or 7 when I saw this film for the first time. I was smitten immediately. I don't throw the word around often, and I would certainly never use it lightly, but in all seriousness, this is a masterpiece (and I'm saying that objectively. Weather you enjoy it or not, it is undeniable that this thing is solid gold).

     The story follows Michael Dorsey (Hoffman), an actor living in New York with his play-write roommate Jeff (Murray). While he's very talented and commits to his work like none other, it's that commitment that makes him extremely hard to work with (exampled in this conversation with his agent- who is played by the director). He thinks that if he pretends to be a woman he'll be more successful getting work, and sure enough, he lands a part on a hospital soap opera entitled Southwest General. Dorothy Michaels, his female alter-ego, becomes wildly popular with the show's audience, Michael falls in love with his costar Julie Nichols (Lange) and hilarity and heartfelt complications ensue as he tries to juggle two lives at once.

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     It's hard to believe that in 1982 they made a film about a man who wears woman's clothing for a purpose other than being funny. I don't know if you've noticed, but when men dress in drag, it's usually to get a laugh (think of every sketch Bugs Bunny has ever been in). I think it has to do with the idea that women are lesser, and to think that a man would lower himself to the level of appearing as one has to be funny. He can't seriously want to be a woman because who would choose a position so worthless? It's unfortunate, but this is the thought process of most audiences, even now. You might not even notice that that's how you're reacting, but the next time you find yourself laughing at a man in woman's clothing, try to identify why. In the context of the film, they make damn sure you know that Micheal is straight so that there's no hint of potential homosexuality anywhere near him (this is only 1982 after all). But other than that, the way Michael portrays himself as Dorothy, she is a character with just as much depth and complexity as any other. Micheal isn't doing this to make fun of Dorothy or anyone else. For him, this just another acting challenge.

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     Technically, the film is solid. Not particularly stylish, but nicely put together. The editing is superb. Very tight. There's a beautiful scene featuring this song that was written for the film by Stephen Bishop (that made it into the top 40 list in the U.S.). The scene depicts Dorothy up at Julie's dad's farm. Julie invites Dorothy up there when they get a weekend off. The whole thing is very dreamy and sun-kissed as Julie rides around on her horse and Dorothy is stuck with Julie's daughter Amy. At first, this prospect proves uncomfortable, but Dorothy starts settle and becomes affectionate with Amy. This is important because earlier in the film, we see Michael reject the introduction to a friends baby at his surprise birthday party. This comfort with Julie's daughter not only shows that Julie is becoming an important presence in Michael's life, but also that this experience as Dorothy is changing Michael as a person and rearranging his priorities. In the beginning, Michael had to separate himself from Dorothy because she had to develop her own separate characteristics, but it's impossible to be two people at once without some cross over, and Michael deliver's one of the smartest lines in film towards the end of film that paints the effect that Dorothy has on him perfectly; "...I was a better man with you, as a woman...than I ever was with a woman, as a man." Hoffman recently did an interview about the production of this film. It's here. I highly recommend that if you only watch one thing in the rest of your life, it should be this. .

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     We should take some time to send a huge shout out to Dustin Hoffman. With the help of a couple of friends who happened to be producers, he developed one of the funniest, smartest, and sweetest dramas in our film history. This film meant so much to him, and it comes out in every line and every look and every gesture. He had a story to tell and a message to send, and by god did he ever do it well. He needed to say to the world that the experience of women is an important one, and when you disregard the respect they deserve, you disregard 50% of the brain power that could change the world.


10/10. No faking. This is a perfect film.


     Honorable mentions from this year include but are not limited to The Best Little Whore House in Texas (I've said it before, I'll say it again, Dolly Parton is amazing. This film-overt sexism aside- is mandatory viewing. Also, Burt Reynolds dances), Sophie's Choice (the Streep just can't be beat), Blade Runner (Ridley Scott, we are not worthy. And Shawn Young's hair should have won all the awards that year) and Diner (a dream of a cast featuring a young Kevin Bacon and a still beautiful Mickey Rourke- pre "my face has been through a meat grinder" years). A special shout out to Franny and Alexander (prepare to be moved to tears by awesome Swedes).


Peace,
Gang.