Distributor: The Criterion Collection
Release Date: December 16, 2014
MSRP: $39.99
Order at Amazon

Film: B / Video: A- / Audio: B+ / Extras: B+

The iconic glow of Sydney Pollack’s Tootsie undoubtedly resides in its impressive cinematic shelf life, but it’s nearly impossible to envision anything close to the same film existing in today’s mainstream landscape where tricky and thoughtful gambits are almost impossible to come by. While the film’s take on shifting social and sexual identities does carry with it an undeniable expiration date, there exists a wealth of justifiable cause for the film’s well-earned Criterion facelift more than 30 years after its initial release. Spiritually astute, confidently performed, and blessed with the late Sydney Pollack’s knack for nourished character craftsmanship, Tootsie finds resonance not in the humor of the everyman struggling actor dressing up as middle-aged woman to earn a paying gig, but in locating personal betterment amidst its situational comedy exterior; it’s a movie about how acting and role-playing serves as a tool for enlightenment.

No one would dare to work with struggling and stubborn New York character actor Michael Dorsey (Dustin Hoffman), a stickler for details whose aggressive dedication to his craft (mirroring Hoffman’s real life persona) has alienated him from every producer on both coasts. Even his agent (Pollack himself) finds it impossible to land him auditions, laying down the news to his client that his career is essentially over given his renowned reputation. After Michael’s friend Sandy (Teri Garr) misses out on the role of hospital administrator on a daytime TV soap opera called “Southwest General,” Michael dons a drag outfit for the same role in desperation and nails it. Quickly becoming the toast of the network and a beacon for female identity in the face of male chauvinism (both on and off TV), the outspoken and tough-minded eccentric “Miss Dorothy Michaels” instantly invites pop fanfare and complications.

Dorothy’s budding friendship with a young actress on the show, Julie (Jessica Lange), eventually turns into romance as Michael develops strong feelings for her. Meanwhile, Dorothy must kindly shoe-off Julie’s doting father (Charles Durning), a sweet and lonely type who’s taken a keen romantic interest in her. For the most part, the proceedings wisely steer clear of gay humor or farce, substituting instead a lightness and sensitivity in place of mean-spirited gags. While most of Tootsie’s circumstantial comedy feels quite warmed over, there’s no denying how sensational Hoffman is in this three-tiered performance. Already a seasoned actor during the film’s release, Hoffman mostly diffuses what could have been a loud and gimmicky portrayal, managing to maintain a measured level of excitement through the hurdles of juggling both identities and through the slow embracing of femininity. The supporting cast compromised of Michael’s roommate (Bill Murray), the soap opera’s director (Dabney Coleman), and daytime drama queen (Geena Davis) all elevate the material with either their trained improv or seasoned delivery, making Tootsie not just a one-man or one-woman show, but a hearty and sensational ensemble full of talent that would eventually hit it big.

Pollack has never proven to be a showy filmmaker, offering up economical films embedded in strong characters arcs and workmanlike appeal, traits that appear adrift in current big-studio enterprises. The famous image of our very first look at Dorothy strutting along in a sea of people in the streets of Manhattan arrives only 20 minutes into a film that runs just shy of two hours. This Americanized portrait of the vitality of healthy and strong female identities perhaps skimps when it comes to sexual psychology, but its cunning broadness is as nimble as anything you’re likely to see in the genre. Tootsie is alive and well and remains as essential and generous as ever.

A/V

Tootsie’s newly revamped video restoration from Criterion is perhaps the disc’s ultimate selling point. The images carry astonishing depth and clarity, capturing a brightness and authenticity in the numerous close-ups and evocative period detail. It’s a true New York movie. The film’s audio, mostly comprising Dave Grusin’s uppity, recurring score, arrives clean and crisp without any noticeable missteps. The dialogue delivery is also clear and error free.

Extras

Given the popular history of the film, Tootsie is thankfully loaded with a bevy of extras. There’s an agreeable and informative audio commentary from Sydney Pollack dating back to 1991’s older Laserdisc. There are decent length and current interviews with Dustin Hoffman and writer Phil Rosenthal (Everybody Loves Raymond) that get into anecdotal bits from the actor’s past and what the film means to him, while Rosenthal enthusiastically reports on why Tootsie has endured as a comedic and dramatic trailblazer. There is also brief unused footage from the film as critic Gene Shalit interviews Dorothy Michaels about being thrust into fame. There are two lengthy documentaries: “The Making of Tootsie” (1982), and “A Better Man: The Making of Tootsie” (2007), each of which includes interviews with cast and crew. Rounding out the extras is six minutes of screen and wardrobe test footage from 1980, back when Hal Ashby was attached. In addition, there are nine deleted scenes and three trailers. Finally, the package includes a wonderful essay on the film by critic Michael Sragow.

Overall

Branded as a classic as by many, Tootsie’s legacy in the pantheon of comedies may not hold much water, but Criterion has done the classic film justice with a formidable retooling of its audio, visuals, and extras. It’s a pure throwback that doesn’t get made anymore, carrying with it a signature relevance that’s hard not to like.