Monday, December 17, 2007
What acting is all about — unemployment
By Edward Copeland
Film directing isn't often compared to completing a jigsaw puzzle, but that is exactly what Sydney Pollack did with Tootsie, which opened 25 years ago today. What began with a story by Don McGuire and Larry Gelbart and a screenplay by Gelbart became the center of a fight between the film's star, Dustin Hoffman, and Pollack, with countless other writers (among them Barry Levinson and Elaine May) taking shots at the script. In the end, the final screen credit went to Gelbart and Murray Schisgal, but it was Pollack who somehow managed to take the best parts of all those drafts and turn it into cinematic and comic gold. If that weren't enough, Pollack managed to turn in a fine supporting turn as well. When Tootsie was originally released, while I loved it, being of junior high age, my 1982 heart belonged to E.T.: the Extra-Terrestrial. However, as the years went on, Tootsie grew in my estimation while E.T. has become almost too schmaltzy to
watch, so much so that I haven't rewatched it in nearly 20 years. Perhaps my view would change again now. What is so great about Tootsie, like many other films, is that the stuff that is great is so great that even a picky, critical mind like mine is able to disregard them. I mean, how exactly does "Dorothy Michaels" (Hoffman's drag alter ego) get paid when she doesn't exist and wouldn't have a Social Security number? Of course, the finale, involving some accident that caused a soap to redo a scene live at the last minute seemed ridiculous to me even upon first viewing, but the scene is so uproarious and the payoff so huge that it doesn't matter. What really holds Tootsie together, in addition to Pollack's patch job, is the brilliant ensemble. Hoffman, deservedly, gets a lot of credit for his drag creation, but I don't think he gets the kudos for Michael Dorsey that are due him. It might seem as if Hoffman's reputation for being difficult, makes Michael a cakewalk, but he not only plumbs Dorsey's depths for comedy
and pathos, but convincingly depicts his transformation from a horny prima donna to a more sensitive man (At one point, Michael acknowledges that he thinks Dorothy is smarter than he is). The opening sequences, depicting his problems as an actor who hasn't had a job in two years, are hysterical, as is the scene where Pollack explains why he can't get work where Michael insists "that nobody does vegetables like me" to justify his firing from a commercial where he played a tomato. Hoffman and Pollack don't have to carry the film alone, thankfully. Ironically, the weakest link in the cast, Jessica Lange, was the only person to win an Oscar, a consolation prize for
losing lead actress in Frances that year to Meryl Streep in Sophie's Choice. Frankly though, Lange wasn't even the best supporting actress in Tootsie. Teri Garr's great turn as Michael's acting colleague did earn an Oscar nomination, but she lost to Lange, as did my personal choice for 1982, Glenn Close in The World According to Garp. Garr, however, clearly was the best of the women in Tootsie (hell, I could make a case for Doris Belack as the soap's producer over Lange). Always clandestinely stuffing food into her purse at parties, having to have Michael "enrage" her for an audition and her go-for-broke rage explosion when she learns Michael has been deceiving her are among the film's most priceless moments. There are so many great supporting turns by the men in the film, I'm almost afraid to single anyone out. There is the aforementioned Pollack, George Gaynes as the soap's aging star wholly dependent on cue cards and prompters and Dabney Coleman doing the chauvinist asshole he practically
patented in the early 1980s. Then there is the great Charles Durning, who did get an Oscar nomination that year, albeit for The Best Little Whorehouse in Texas, as Lange's widowed father who falls for Hoffman's Dorothy and longs for the days when men and women "were what they were." His proposal scene is both funny and touching (though the comic gem in this sequence comes later when Michael tells his agent about the offer and Pollack asks him what he said, with genuine happiness that makes him forget about the truth of the situation for a moment. The best of the best of the supporting men has to be the great Bill Murray, in a role that legend has it he improvised completely. He plays Jeff, Michael's playwright roommate, and if he truly did
come up with all his own dialogue, what a treasure trove he unleashed. (My personal favorite: When he says he wishes he had a theater that was only open when it rained.) Even though Tootsie lags a bit when it takes a detour to Durning's farm, it's forgivable since those scenes are part of what gives the film its heft and allows for even more comic grace notes. How Tootsie lost to the noble but limp Gandhi (including for original screenplay, patch job or no patch job) still baffles me.Labels: 80s, Bill Murray, Dustin Hoffman, Meryl Streep, Spielberg
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Tootsie is one of my all time favorite movies, and it topped my ten best list for 1982. I would have given the Oscar to Teri Garr, but I don't think Lange is bad here. I know Lange has been terrible in plenty of movies, but I have to defend her on occasion from the haters at ECOF! She's good here, and has chemistry with Dustin Hoffman and Charles Durning.
Speaking of Durning, he's charming both here and in The Best Little Ho House in Tex-Ass. I still sing his little "Side Step" number and dream that someday they'll do a D.C. version of the musical and Durning's character will be played by Bill Clinton.
Sydney Pollack once said that he cast himself because he needed an actor who looked like he could intimidate Hoffman. Pollack is a far better actor than director, so I'm always happy to see him show up onscreen, even in dreck like Eyes Wide Shut and Husbands and Wives. (Ut oh, here come the Kubrick and Woody Allen folks with pitchforks! Gotta catch me first!)
Bill Murray is spectacular here, and my favorite Murray scene is his perfectly timed "You slut."
Hoffman is not very convincing looks-wise as a woman, but he still gives one helluva performance. I panned Gandhi, so I'd give Best Pic to Tootsie. But Best Actor belonged to Paul Newman in 1982.
Oh, and how can I forget that Stephen Bishop song? Bishop is not a tolerable singer (that "Down in Jamaica" song makes me want to kill people) but his Tootsie number is the only time I didn't want Bluto from Animal House smashing his guitar.
Speaking of Durning, he's charming both here and in The Best Little Ho House in Tex-Ass. I still sing his little "Side Step" number and dream that someday they'll do a D.C. version of the musical and Durning's character will be played by Bill Clinton.
Sydney Pollack once said that he cast himself because he needed an actor who looked like he could intimidate Hoffman. Pollack is a far better actor than director, so I'm always happy to see him show up onscreen, even in dreck like Eyes Wide Shut and Husbands and Wives. (Ut oh, here come the Kubrick and Woody Allen folks with pitchforks! Gotta catch me first!)
Bill Murray is spectacular here, and my favorite Murray scene is his perfectly timed "You slut."
Hoffman is not very convincing looks-wise as a woman, but he still gives one helluva performance. I panned Gandhi, so I'd give Best Pic to Tootsie. But Best Actor belonged to Paul Newman in 1982.
Oh, and how can I forget that Stephen Bishop song? Bishop is not a tolerable singer (that "Down in Jamaica" song makes me want to kill people) but his Tootsie number is the only time I didn't want Bluto from Animal House smashing his guitar.
I thought Lange offered the indispensible function of keeping the movie grounded amid all these wacky characters. She gave Michael an impetus to change and brought some reality to the proceedings without dragging them down.
Tootsie is my favorite movie of 1982. It just seems to me like it's..... dare I say perfect? Yes. It's perfect for me. It has outrageous laughs and touching moments. So, for this great film to lose over the zzzz....... film Gandhi is just...... terrible.
I even prefer An Officer and A Gentleman than Gandhi, though I believe that Ben Kingsley is great. However, the Oscar REALLY GOES TO DUSTIN HOFFMAN FOR TOOTSIE, TERI GARR FOR TOOTSIE AND SYDNEY POLLACK FOR TOOTSIE.
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I even prefer An Officer and A Gentleman than Gandhi, though I believe that Ben Kingsley is great. However, the Oscar REALLY GOES TO DUSTIN HOFFMAN FOR TOOTSIE, TERI GARR FOR TOOTSIE AND SYDNEY POLLACK FOR TOOTSIE.
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