Tom Baker, who played the 4th Doctor on Doctor Who, guest starred on the Remington Steele episode "Hounded Steele" that aired on May 15, 1984. In a bit of role reversal, he played a detective who was the antagonist of the episode and J.D. Cannon played a retired jewel thief who was the guest protagonist. ("Hounded Steele" Remington Steele, TV event)
I can’t exactly claim that I’ve seen him in a lot of his most iconic roles, but I’m planning on fixing that this year for sure! On my to-watch list this year and beyond is Midnight Cowboy, Kramer vs. Kramer, Stranger Than Fiction, and Marathon Man at the very least.
But that’s not to say I haven’t seen him in other iconic roles of his, of course. Fun fact: I actually tried to do this project in 2019, and it...didn’t work. But, one of the films I watched that year was one of Hoffman’s most iconic dramatic films: Rain Man.
Oh, and by the way, that movie is not about an autistic man. Or, rather, it’s not based on a man diagnosed with one of the autism spectrum disorders. Instead, he actually most likely had a genetic disorder called FG syndrome, unrelated to the spectrum disorders. Ironic, since Hoffman’s character was the pop-cultural depiction of autism that people STILL refer to quite often, and quite inaccurately. But, obviously, that’s not Hoffman’s fault, and he was good in the movie, to be fair.
I grew up with him in Hook, as the pirate captain himself (I still do his laugh sometimes, it’s weird, I know). He had an underappreciated starring role in one of my favorite guilty-pleasure films, Outbreak (I fucking love that movie, and I’m not ashamed to admit that). He was in Finding Neverland, but I just forgot about that until I looked up his filmography to write this intro. And, of course...Master Shifu.
So, yeah, I actually DO like Dustin Hoffman, despite the fact that his role in The Graduate wasn’t stellar for me. Just seemed kinda miscast, and a little too awkward to be even slightly sympathetic. Then again, he wasn’t really meant to be, so maybe Hoffman was the perfect choice. Even then, he still acted well in it.
And anyway, I watched that movie for two major reasons. One, it was on my list of films to see, and TWO: it was a lead-up to the ACTUAL Hoffman film I wanted to watch this month: Tootsie. After all, I just watched rom-com Some Like It Hot, and if you’ve looked at me schedule, you know what film is coming next. So, this one fits in my planned schedule. Why? Well...there’s a theme.
Yup. I actually picked these movies for a reason. See, here’s the thing: this is a repeated trope in comedies, and I’ve always wondered whether or not it’s...problematic. But, much to my surprise with Some Like It Hot, they actually used the situation to comment on the female experience. I mean, not necessarily really well, but they tried at the very least. And for a film from 1959, that ain’t bad!
Which isn’t to say that it’s entirely clean, of course, but it was far better than I’d expected. So, if 1959 did that OK, how did 1982 do? Let’s find out, shall we?
SPOILERS AHEAD!!!
Recap
Michael Dorsey (Dustin Hoffman) is an acting coach, as well as being an actor himself. However, he’s not the most successful actor, as he keeps attempting to audition for pieces, only to get refused for nebulous reasons, or refuses them when he disagrees with the director. He might want to take his own advice, for the record.
In the meantime, he works in a restaurant with Jeff Slater (Bill Murray), a playwright and roommate. That night, the night of his birthday, he spends time with an actress friend, Sandy Lester (Teri Garr), and also hits on the majority of women there that night.
As the party concludes, and various people go home, Sandy is abandoned by her date, and Michael offers to take her home. She breaks down crying, and Michael guesses that she’s upset about an upcoming audition. He gives her some coaching advice, and manages to get her to produce the correct emotion for the role. Afraid that she’ll lose it without him, he agrees to accompany her to the audition and enrage her. It’s very funny.
That morning, however, she IMMEDIATELY gets kicked out of the audition, as she wasn’t right for the part. However, when he goes to help her by speaking with an actor on the show, he finds out that the actor is off the show, and is instead getting a part that MICHAEL was supposed to get. Now enraged himself, he goes to speak with his agent, George Fields (Sydney Pollack), and the two have a tense conversation. It’s revealed that because of his difficult nature, he has a terrible reputation in acting circles, and literally nobody will hire him.
Challenge accepted.
Now dressed up as a woman named “Dorothy Michaels”, he goes back to the audition that passed on Sandy. Like her, he’s also immediately rejected by the director, Ron Carlisle (Dabney Coleman), who insists that she’s too “gentile” for the part of a hospital administrator. This causes “Dorothy” to go off, in a righteous monologue that accuses Ron for conflating power with masculinity. Which...yeah, he totally is, and DAMN, it’s a good tell-off!
Producer Rita Marshall (Doris Belack) agrees, and invites “Dorothy” to read for the part. He comes in to read, and in the process meets Julie Nichols (Jessica Lange), to whom he’s IMMEDIATELY attracted. He brushes that off, and the audition commences. From there, he gets the part, which is a regular part on a soap opera called Southwest General.
Now fully invested in the dumbest idea anybody’s ever had, “Dorothy” goes to her agent and tells him the ridiculous news, and asks for $1000 to go shopping for more clothing. Back at their apartment, Michael speaks to Jeff about the whole situation. He notes that he’s doing this to get the money for his play in Syracuse, which requires $8000 to produce.
Sandy is to be cast in this play, which is an issue, as they now need to explain where the money came from, as it’s technically from the part that SHE was refused for, which would hurt her feelings. He lies and says that the money’s from a deceased relative. While in her place, and while she’s in the shower, he decides to try on some of her clothes to get ideas for Dorothy. But when she walks in on him, he lies AGAIN and says that he’s sexually attracted to her. And she reciprocates IMMEDIATELY, which leads to an unintended relationship.
On the set, “Dorothy” finds out that he’ll be kissing John Van Horn (George Gaynes), an older actor who’s clearly a bit past his prime, and makes it a point to kiss every actress on the set when they start on the show. Gross. Michael agrees, and when the scene comes, he improvises and has his character (Emily) hit the doctor instead.
While the director (who’s a DICK, by the way) notes the improvisation, he approves of it, while also discouraging any similar actions in the future, and calling her “toots”. “Dorothy” takes it, rather than talks back. John compliments her on the improvisation, and then kisses “Dorothy” anyway, much to Michael’s shock!
We also find out that Julie, who plays a nurse on the show, is dating director Ron. Later on, though, Michael observes him making out with another actress on stage. Shortly after this, Julie invites “Dorothy” to dinner at her place, which is eagerly accepted. At dinner, we find out that Julie has a young daughter and that her relationship with Ron is...not stellar.
They have a discussion about being a woman in the ‘80s, and the complexities inherent in that concept, which is an interesting theme of this movie! Gotta say, this is a more socially-conscious version of Some Like It Hot, and I really like that! But the conversation is cut short when Michael realizes that he’d promised dinner with Sandy that night, and leaves in a hurry.
Dinner with Sandy is awkward, as Sandy is...Sandy is a lot, to be honest. But, she tells Michael that the woman hired in her stead on the soap opera (who is, of course, Michael himself), is written as a wimp, rather than tough as intended, and that she should change that. Michael agrees, and actively goes against the script to make the character of Emily far tougher. and essentially a feminist.
While this causes some grief to Ron and Rita at first, Dorothy Michaels soon becomes a massively successful and popular actress on the show, and her popularity absolutely explodes. Michael’s wrapped up in the success of Dorothy Michaels, and thinks that she might be able to branch outside of the role of the soap opera. Which is difficult, as his agent points out, because of the simple fact that Michael is...well, Michael.
At a party that his agent invites him to, Michael meets Julie AS MICHAEL. He uses a line on her that she’d mentioned before to Dorothy, only to be met with a drink to the face. Which is fair, as the line was about being honest about wanting to have sex with her, so I get it.
On the set soon afterwards, we see that the show is becoming more progressive, allowing Julie’s nurse character to stand up to John’s chief doctor character. After the scene is done, the director once again calls Dorothy “toots” instead of her real name, and Dorothy absolutely snaps back at him, and rightfully so! In response, Julie goes and invites Dorothy to a weekend in the country, on her father’s farm. Despite some rebuke from Jeff for lying to Sandy AND Julie, Michael as “Dorothy” goes on the trip.
This, by the way, is an excellent time to mention that this film is exuding some real strong, uh, vibes. You know...alphabet mafia vibes. Like, it’s definitely there, heavily leaning towards Julie. Obviously, “Dorothy” is actually the heterosexual Michael, but that’s not helping, just saying. And there’s literally (and absolutely obviously) nothing wrong with that, but it’s so strong at this point that it’s hard to ignore.
On the farm, “Dorothy” meets Les Nichols (Charles Durning), Julie’s lonely and genuinely nice father, if a bit old-fashioned in his views on gender politics. He’s also got the hots for “Dorothy”, which is funny-but-awkward as shit. That night, Julie tells “Dorothy” some very personal things about her dreams as a child, which is a genuinely very sweet scene. And can I just say, that this movie is both funny and quite heartfelt? I love it! Also, again, the vibes...THE VIBES.
Meanwhile, the popularity of “Dorothy” continues to skyrocket, to the frustration of director Ron, but to the delight of producer Rita, who decides to extend her contract with the soap opera by a full year! Oh FUCK! Realizing what the hell he’s gotten himself into, Michael calls his agent, who tells him that it was in his contract, meaning he’s basically fucked.
Jeff also tries to help hi, out of it, to no avail. Just then, though, they get a call from Julie, looking for “Dorothy”. She’s been having her doubts about her relationship with Ron, and she realizes that she’s been settling for Ron and other men like him. And Dorothy’s inspired her to be a better person, and to be honest with others and with herself. Fuckin’ OOF.
Just then, Ron arrives, allowing them some alone time, as Julie is getting ready for their night out. In the process, “Dorothy” reveals that she knows about his indiscretions with other women. Ron proceeds to use the EXACT SAME EXCUSE that Michael used to excuse his lies to Sandy, and it’s well-executed! Good job, writers, that’s pretty awesome.
“Dorothy” promises to watch Julie’s daughter for the night, which proves a bit of an issue, but he works it out. Julie returns later on, having broken up with Ron. Another heart-to-heart ensues, but this one is concluded with a revelation that Julie is lonely, despite the fact that she appreciates Dorothy’s influence and friendship. And then, "Dorothy” tries to kiss Julie. OH
Yeah, Julie’s not exactly chuffed about this as, despite a LOT of “Sappho and her friends” vibes, she doesn’t actually swing that way. “Dorothy” tries to explain, but this is interrupted by a call from Julie’s dad! He asks her out on a date that night, and “Dorothy” accepts. On said date, he FUCKIN’ PROPOSES TO HER! She promises to think about it, and takes the fuck OFF.
And to continue the parade of “Fuck me, I guess” that marching down Michael Street, who should show up at the apartment but John, from the show! Having followed her home the previous night (YIKES BUDDY), he literally serenades her outside of the apartment window, before “Dorothy” lets him in. It’s there that he reveals he’s MADLY in lust with her, and it’s HILARIOUSLY awkward. Thankfully, just as John is forcing himself on her, Jeff walks in on them, interrupting John’s actions, and causing him to leave in shame.
AND FUCKING THEN, after all of that, Sandy arrives at the apartment to find out why Michael’s not returned her phone calls. And Sandy’s a lot, sure, but all of her concerns are completely valid and legitimate. And despite Michael’s impressive ability to lie, he tells her the truth: he’s in love with another woman. Which she absolutely freaks the fuck out about, but whatever, not like Michael doesn’t deserve that.
Having had it with all the drama around Dorothy’s life, he goes to his agent and hilariously recounts to him the whole series of events that’s taken place. Still struggling to find a way to get out of the situation, he goes to work the next day, for an awkward conversation with Julie. She thanks Dorothy for inspiring her to be true to herself, which cuts DEEP, but still says that they shouldn’t spend time together anymore.
Producer Rita arrives with news: the erasure of a reel of footage has forced them to shoot a scene live. Said scene involves a party being thrown for Dorothy’s characters, putting her in the starring role. And THAT is when Michael takes his chance. Dorothy improvises a monologue about Emily’s REAL past, as a twin who tragically died before realizing her dream to become a hospital administrator. Ripping off his disguise, Michael reveals himself as Emily’s twin brother, Edward!
Everyone on stage and at home is SHOCKED, especially Les, John, Sandy, and of course, Julie. And once the cameras stop rolling, Julie now understands everything. She walks right up to Michael...AND PUNCHES HIM IN THE DICK
John asks if Jeff knows, and I break in half laughing.
Months pass. Michael was able to fund Jeff’s play in Syracuse, and goes to meet Les, who lives in the area. The two make amends after an understandably awkward reunion, and they begin the journey to become friends after everything. This prompts Michael to return to the city and speak with Julie, who is...less than happy to see him. Which, yeah, entirely fair.
But, again overcoming the initial awkwardness, Julie is able to admit that she misses her friend Dorothy. And Michael reciprocates, speaking for Dorothy, who is...well, him. He says the following great line:
I was a better man with you as a woman than I ever was with a woman as a man.
And from there...the two decide to rekindle a friendship, with Julie asking to borrow one of Michael’s dresses. And y’know...I’m rooting for those crazy kids.
That’s Tootsie! And, uh...I love it! I LOVE it. I actually think this is a great film, and one of the best I’ve seen this month. But I’ll elaborate...in the Review! See you there!
