Double Standards

Today’s topic: dual personality. Every once in awhile we come across the concept of having multiple personalities, especially in cinema with movies like Fight ClubEnemy or even with the character of Smeagol in The Lord of The Rings franchise. However, the subject matter is often understood and categorized as a kind of sickness, a mental disorder, which of course gives the writers an interesting idea to develop quirky plots and mind bending storylines. That’s why today I want to write about the 1982 gem of a comedy Tootsie. It’s a movie that has shaped the genre of comedy and managed to touch some serious subjects like the role of women in today’s society, the way we look at women in the film and TV industry, and what it feels like to live in someone else’s skin. It’s a movie that, in my opinion, is still ahead of its time, and that’s why I want to go deep and see why.

For those who don’t know, Michael Dorsey (played by an incredible, post-Graduate-post-Midnight Cowboy Dustin Hoffman) is a New York actor. He loves acting and he loves the smell of the theatre. What’s wrong with him? He’s a perfectionist, or what we call today, an asshole. Nobody wants him because he just doesn’t fit anywhere. Michael drives everybody mad. He teaches a few of his friends and students some basics for the perfect “Michael acting”. That’s when at a party, he learns of a soap opera part that pays good money but with only one problem – it’s a female character. Who, cares. He goes for it. Meet Dorothy Michaels, a tough woman who can literally act her ass off in front of the cameras. What should have been a short term job becomes the only job Michael has. It’s a great job, maybe too great. And that’s when the real questions come into play. It’s when this acting job becomes a real journey, an eye-opening experience.

It gets scary when you can't tell the difference.
It gets scary when you can’t tell the difference.

The character of Dorothy Michaels is strong, loud, and when it comes to facing someone or something, Dorothy always comes out as the winner. That’s why Michael gets the part in the first place; he creates a masculine character, that aside from making us laugh to tears, makes us reflect on the current idea and perception of the woman we had in the 80s and probably still have today. It’s that masculinity, that grit that makes the show’s director change his mind and make an offer to Michael, because he sees what he rarely sees in a woman. A woman is supposed to be delicate, sweet, sensitive. Dorothy is a whole other animal. She’s a predator. Michael creates the ideal of what he considers to be a great person. Outside the Dorothy costume, he’s still an asshole that always begs his friends for money and advice, forgets about his date, doesn’t pay attention to his flatmate in need, and well, is a huge egomaniac. But with Dorothy he becomes someone else. He enters a new world, a world where he can start a whole new story and get to live it. As Dorothy he makes new friends, and especially with a fellow actress and castmate, Julie. Julie brings out a feeling that Michael had forgotten about; the feeling when you fall in love with someone. For real. But, as Dorothy he cannot show it. So now, the new skin becomes a trap that makes it impossible for Michael to demonstrate who he really is.

Sometimes too far is in fact, too far.
Sometimes too far is in fact, too far.

Maybe, it’s for the better. Because only as Dorothy is he capable of forming a true friendship, a real meaningful bond, one where two people got each other’s back no matter what situation comes up. It’s love that isn’t love. It’s not about having those discussions and arguments couples have, it’s something different. Something that Michael has never tasted before. The days go by, and Michael feels less and less comfortable as his own self: he tries a dress at his girlfriend’s place, he pays more attention to the amount of hair he shaves everyday than the amount of food he consumes, he watches his hips and ankles, he comments on other women’s appearance and overall, starts thinking like a woman. Perhaps it’s the frustration and anger against a world that has never appreciated him for who he is as a man, as a male actor, or perhaps it’s the wish of the inner child to finally get to live the life he always wanted to live: the one of a famous, respected, well paid soap opera star. Maybe that’s the real dream that Michael has always chased. Or maybe not. Soon the fans overwhelm him and his life, the publicity makes him lose track of the real objective and gets in the way of his feelings toward Julie, and after a while he realizes that he’s not living the life that was given to him as Michael. Being Dorothy Michaels was supposed to be a short term job, that would help him get back on his feet and direct the play he always wanted to. The love for Julie is by now, too strong to hide.

A not so perfect kiss.
A not so perfect kiss.

We get to see what it feels like to live two separate lives: it’s fun and it gives a lot of satisfaction but we, as humans, can’t deal with it for too long. Maybe some do. But Michael can’t. Life as Dorothy proves to be exhausting and it’s more of an educational adventure: Michael understands that you need other people to feel fulfilled, you need to give to receive, and a love that’s mutual and feels real does exist. It’s no fairy tale. It’s real life. There are important values in life, and sure, there’s more than the usual nights spent in front of the TV with a couple of beers and an over worked script on your lap. Now Michael has to learn to be Dorothy Michaels without actually being her, is that possible?

Tootsie’s one of a kind, so yeah. It is.

An adventure that keeps on going.
An adventure that keeps on going.

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