Tootsie (1982): ****

Tootsie (1982) follows Michael Dorsey (Dustin Hoffman), an actor with a reputation of being difficult to work with and consequently struggling to find work. When his friend Sandy (Teri Garr) auditions for a role in a hospital soap opera but doesn’t get the part, Michael decides to audition for the role, cross-dressing as Dorothy Michaels. Dorothy is a major success for the programme, but Michael begins to develop feelings for his co-star Julie Nichols (Jessica Lange) and becomes the target for several men’s affections. At face value, it sounds like a broad cross-dressing comedy, full of slap-stick and misinterpreted intentions, which it is. However, it treats its premise with sincerity and makes some serious feminist observations, particularly relating to the entertainment industry.  

Michael is completely passionate about acting and is willing to go to any length to get a role, ‘I can be taller!...I can be shorter!...I can be different!’, to the extent where he forgets to enjoy life. Instead of focusing on celebrating his birthday party, Michael busies himself with networking with all the guests, a scenario perhaps familiar to anyone who has worked in the performing arts. It is Michael Dorsey’s complete commitment to acting that makes the premise of Tootsie work, mirroring Dustin Hoffman’s commitment to the roles of Michael Dorsey and Dorothy Michaels. The scene where Michael is torn on choosing the right outfit for Dorothy for a dinner date with Julie perfectly encapsulates Michael’s attitude towards Dorothy. The outfits are not referred to as costumes and Michael is incredibly serious in embodying Dorothy as fully as he can. 

As Dorothy, Michael witnesses the same discrimination women faced in the 1980s, and indeed still do today. Dorothy is referred to as ‘sweetheart’, ‘darling’ and ‘Tootsie’ by the soap’s director Ron Carlisle (Dabney Coleman). She is expected to be meek when receiving direction and is pushed around the set like a doll. However, Dorothy calls out Ron for his sexist behaviour, declaring, ‘“I have a name. It's Dorothy. It's not Tootsie or Toots or Sweetie or Honey or Doll.”’ Dorothy asserts herself and helps her female co-workers to create more substance with their roles. As Dorothy achieves more equality for herself, Michael also begins to become more empathetic toward women and what they experience. In a darker scene, cast member John Van Horn (George Gaynes) attempts to force himself onto Dorothy, only stopping when Michael’s room-mate Jeff (Bill Murray) walks in and John mistakes him for Dorothy’s boyfriend. When Jeff tries to laugh it off, Michael states it is not a laughing matter. All of these events make the dénouement sweeter when Michael reveals himself on live television, calling out all of the sexist behaviour he was experienced and witnessed by the cast and crew. 

Tootsie’s smart and witty screen-play, by Larry Gelbart, Murray Schisgal, Barry Levinson (uncredited) and Elaine May (uncredited), creates a good balance of humour and drama in the film. On the other hand, some aspects of the film have not aged well; the musical montages are cheesy and the moments of gay panic within Tootsie can be uncomfortable to watch today. Nevertheless, it is an entertaining and heartfelt film with a marvellous performance by Dustin Hoffman.