‘Three Days of the Condor’ 1975

Faye Dunaway's softer side, with Robert Redford, in 'Three Days of the Condor.'

Though this film has that gritty '70s feel, Three Days of the Condor seems almost timeless. The styles and fashions are so neutral (and so un-70s!) that it could almost be mistaken for a current movie. Yes, the vehicles and technology show their era, but everything is so toned down that you're not getting tripped up by the era’s idiosyncrasies.

Three Days of the Condor was written as a novel, Six Days of the Condor, by James Grady, at age 26! The hero is Joe Turner, aka Condor, who works with a CIA group, working under genteel cover deciphering coded messages in books, who are assassinated while he has stepped out for coffee and bagels. Turner is from then on the run, not knowing who to trust.

In honor of Faye Dunaway’s 80^th birthday Jan. 14, I pay tribute to one of her most appealing, non-neurotic roles, as photographer Kathy Hale in Three Days of the Condor. Compared to her bleached blonde ‘60s starlet, and the latter day glam/plastic surgery superstar, Faye was at the height of her “down home” Dunaway during this era. And she's just as fascinating.

Faye Dunaway as Kathy, Redford's kidnap victim, is one of her most subtle performances.

Obviously, Three Days of the Condor is a vehicle for Robert Redford. Yet, all is not sacrificed to star showboating, which makes Condor unique. While Faye Dunaway is essentially playing “the girl” to the male lead, her role as the slightly sad, dissatisfied photographer is given more gradation than previous actresses from the previous decade of male-dominated movies. Per usual, the female character quickly falls for her alpha male, but Dunaway’s Kathy speaks her mind and demands respect. Their relationship feels realistic in their mutual expectations and is not movie-style maudlin. Dunaway, who played many larger than life characters before and after this movie, is at her most natural. With brown hair, little makeup, and simple clothes, Dunaway looks like any other attractive urban woman. But her close-ups display the cheekbones, the intense eyes, and along with her hesitant, throaty voice, Faye is quite appealing.

Robert Redford as Joe Turner, the espionage thriller man on the run!

Robert Redford, if he walked off screen, with his shaggy blonde hair, cool wire rim glasses, and jeans and sports jacket combo, would have a mob following him in about 30 seconds! He's at the height of his Redford-ness, and I'm not even that big of a RR fan. Bob’s rugged good looks and studied cool image are at the peak of perfection.

Robert Redford style. Here, in the opening scenes of this fine espionage film.

Others have noticed the similarities in plot of Three Days of the Condor to North by Northwest. The “man on the run,” who’s not sure why, and the woman he picks up on the way—for sure. What's fascinating is that NBNW was a fab fifties confection, with glammed-up stars, costumes, locations, and a hint of hard political realities. Three Days of the Condor is informed by the post-Watergate era and certainly doesn't seem far-fetched today. Condor feels sleek, with timeless stars and NYC locations, but filmed naturalistically. Yet the ‘70s thriller is not dreary, that some of the then “new cinema” efforts took for realism. The camerawork is too striking and deliberate to be ignored. The stars look great too, but simply so. And the story is realistic but highly entertaining. What a difference a movie generation makes in smart entertainment.

'Three Days of the Condor' is still a smart, stylish political thriller.

A couple of Condor scenes are indeed a direct nod to North by Northwest. When Redford’s Joe Turner ends up in the same elevator as assassin Joubert, they are surrounded by oblivious people. Hitch uniquely played the same scene for laughs, with Cary Grant’s ad man’s mother asking, “Are you men really trying to kill my son?” In Condor, the scene is fraught with suspense, as each man eyes each other suspiciously amidst a group of rowdy teens, and finally, left alone. What makes the latter scene unique is when the killer picks up a glove and asks if it is Turner’s. He says no, and Van Sydow’s Joubert gently lays it on the elevator’s railing. And shortly after, knowing Joubert awaits outside, Turner pretends to have car trouble, and walks out with a group of young people. NBNW hero Cary Grant creates a similar ruckus at the memorable auction scene.

Max Von Sydow is memorable as the most civil assassin ever.

The cast is superb. Max Von Sydow is fascinating as the assassin, Joubert. Von Sydow is intimidating, yet has some subtle moments of gentility. Cliff Robertson is a great villain as well, but with the worst comb-over ever. Tina Chen is touching and striking in a small role of Joanna, Redford’s co-worker. The “office” cast is so believable that you are engaged from the get-go. The interaction is so strong, that you’re invested when you see them killed. Director Sydney Pollack helms one of his best stories and his greatness with actors is apparent. This was one of Pollack’s seven collaborations with Redford.

Cliff Robertson is fine as Redford's shady superior, but his comb-over is not!

Dave Grusin composes yet another jazzy ‘70s score that sounds great and percolates this thriller perfectly. Cinematographer Owen Roizman does a fantastic job lensing this story. His specialty was “gritty New York City feel” and it shows here. Roizman frames his city beautifully, down to the most ordinary aspects. There’s a shot of Max Von Sydow’s killer crossing the street and his reflection on the wet surface is still stunning. Roisman shot many memorable films of the ‘70s and early ‘80s—his first Oscar nom was for his second film, a little number called The French Connection! Lorenzo Semple, Jr. co-wrote the articulate screenplay.

Enjoy Faye Dunaway at 35, in the midst of her ‘70s stardom. And enjoy a still-fresh, smart thriller , 45 years later.

Faye Dunaway's photographer lends Redford's CIA man on the run a hand.

Here’s some links to more Robert Redford, as well.

Also, check out my memories of The Way We Were: https://ricksrealreel.blogspot.com/2016/08/robert-redford-and-barbra-streisand.html

And here’s a look at early Robert Redford in This Property Is Condemned: https://ricksrealreel.blogspot.com/2018/07/this-property-is-condemned-1966.html

FYI: I put all the movie overflow on my public FB  movie page. 

Check it out & join!  https://www.facebook.com/groups/178488909366865/

 

This Property is Condemned 1966

Robert Redford & Natalie Wood were an intriguing screen couple: his cool and her warmth.

Why on earth did Paramount try to expand a 15-minute one-act play, This Property is Condemned, into a 1966 film? Because it was Tennessee Williams, baby!

Williams plays had been prolifically and profitably adapted into films for 15 years: The Glass Menagerie, A Streetcar Named Desire, The Rose Tattoo, Baby Doll, Cat on a Hot Tin Roof, Suddenly, Last Summer, The Fugitive Kind (from Orpheus Descending), Summer and Smoke, Sweet Bird of Youth, as well as his novel The Roman Spring of Mrs. Stone, and his comedy Period of Adjustment.
That any studio thought they could conjure up a feature-length story from a wisp of writing from Tennessee Williams, the greatest playwright of his time, is typical Hollywood hubris. A dozen screenwriters took a whack at constructing this slight Property. As always, Tennessee Williams complained about the compromised results of his work—and yet Williams sold his plays' film rights away for huge paychecks. In Property’s case, he threatened to have his name removed from the credits. Funny, since 1968’s Boom was just around the corner!

This expanded Tennessee Williams one-act is not a classic, but doesn't deserve to be condemned.

Despite the disappointing results of 1965’s Inside Daisy Clover, Natalie Wood and Robert Redford re-teamed for This Property is Condemned. Though Redford felt the film was tailored as a Natalie Wood vehicle—why Robert found this an issue is odd, as Natalie was a huge star then, and he wasn’t—Bob accepted. He also got his buddy Sydney Pollack as director. 

Natalie Wood, at the height of her stardom, when she had a big say about her leading man & director.

Here’s the expanded story of This Property is Condemned: Owen Legate (Redford) comes to a Depression-era small town in Mississippi to lay off some railroad crew. He meets Alva Starr (Wood) and her kid sister, Willie (Mary Badham), at their mother’s boarding house. Though taken by fanciful, vivacious Alva, she is the total opposite of his buttoned-down, pragmatic persona. While they spark and spar in a love-hate relationship, Mama Starr schemes to set her daughter up with an older man from the railroad, so he can provide for them. Aside from Owen, complicating things too is Mama’s young beau, J.J. (Charles Bronson) who has the hots for Alva. When Owen hands out the pinks slips and several railroad workers punch him out, as well as the time clock, it’s quitin’ time. He invites Alma to join him in New Orleans. Mama interferes and the couple fall out, with Owen leaving alone. Alva gets back at Mama by upsetting her plans and eloping with J.J. The morning after, Alva goes to New Orleans, hoping to find Owen. Their reunion does not end happily ever after.

Natalie Wood, like Alva Starr, was 'the main attraction' here. With Mary Badham as sister Willie, and Robert Blake.

Alva just can't get sensible Owen to see things her fabulous way.

This Property is Condemned was released to poor reviews and even worse box office returns than Inside Daisy Clover. However, I find Property far more watchable than Clover. The greatest debit against this Property is that it was produced literally in the last gasp of the Hollywood censorship code, and is one of many movies made in the first half of the '60s that feels like it still has one foot stuck in Hollywood’s house style of the '50s.

Still, who wouldn't mind gazing into her crystal ball, or those big beautiful brown eyes?

Still, why do some critics and online pundits still beat up on this movie, while there are revisionists who drool all over same-era bombs like Marnie and Bunny Lake is Missing? I think it’s mainly because those films feature past their prime directing legends Hitchcock and Preminger, whereas Sydney Pollack merely became a skilled studio director. Also, This Property is Condemned is considered minor Tennessee Williams, though comparing an intimate one-act to A Streetcar Named Desire or Cat on a Hot Tin Roof is apples and oranges. And Natalie Wood has never been a critics’ darling, then or now. Natalie was far from a being a Bette Davis or Meryl Streep. Yet, compared to wooden non-actress Tippi Hedren and wan starlet Carol Lynley, Wood was a natural, engaging, intense, and charismatic performer.

Even if a film doesn't ultimately work, I can still enjoy the aspects that do come together or stand out. Walter Matthau once commented that even bad films usually have something to recommend them, whether it’s a great performance, dialogue, or even a costume. And while I feel this movie is as much of a hot mess as Alva Starr herself, This Property is Condemned is still highly watchable.

Robert Redford as Owen Legate: Understated or underwritten?

The acting in this Property is its strongest selling point. Wood and Redford make a good team. Both were perfect examples of mid-twentieth century attractiveness. Young Redford looks like a compact version of Tab Hunter, a former Wood co-star; Natalie is a Keane painting, come to life, the dark eyed pixie. Interestingly, it's been written that both stars felt uncomfortable with the "movie star" side of their images—and yet both fell back on it, over and over, throughout their careers. Still, Wood's warm yet intense screen presence is a complementary contrast to Redford's cool, detached demeanor. And their personas are in exactly in sync with the characters.

What to say about Robert Redford as Owen Legate? He’s not the typical Tennessee Williams hero, all cool and reserved, but his character just feels underwritten. Redford’s never been the most emotional actor, but his appraising manner and reticence work here. It’s just a shame that what makes Legate tick is never revealed. At times, Owen’s behavior toward Alva just seems cruel.

Mary Badham, beloved as Scout in 'Mockingbird,' 
is great here as Alva's kid sister, Willie.

Mary Badham, famed forever as Scout from To Kill a Mockingbird, gives another naturalistic performance as Alva’s no-nonsense kid sister, Willie. Badham is the observer to the drama and provides some comic relief, looking like a cross between Pippi Longstocking and Delta Dawn. It also helps that the young actress was actually from the south. Badham was in her teens here and looks a bit gawky in the way Peggy Ann Garner did after A Tree Grows in Brooklyn. Badham retired from acting in ’66 after Property and a William Castle horror flick, Let’s Kill Uncle.

Kate Reid as Mama Starr is one of Williams’ monstrous older women. Reid, with her deceptively loveable face, is unrelenting in her survival plan for the poor family. When the boarding house lady’s bawdy mask drops, look out! Her haranguing of Natalie’s Alva is terrific and terrifying. John Harding gives solid support as Mr. Johnson, the older man with an invalid wife, who wants to set Alva up. Though he’s not exactly sympathetic, Harding plays him as a lonely man who is taken by lively young Alva. Robert Blake has several sweet moments as Sidney, one of Alva’s many admirers. Of course, Blake’s big breakthrough as an adult performer came the next year, with In Cold Blood.

Kate Reid is a killer Tennessee Williams mama!

Cinematographer James Wong Howe does some stellar work, along with Pollack’s penchant for camera showmanship, which he really went to town on in the later They Shoot Horses, Don't They? The authentic Mississippi and New Orleans location scenery and studious production detail are a bit offset by huge, obvious sets, like the main floor of the boarding house or the New Orleans street where Alva lives. Still, This Property is Condemned is one of the few ‘60s movies that are reasonably authentic to another era.

Natalie, as Alva, turns the tables on manipulative Mama, played by Kate Reid. 
Wood was only 8 years younger than Reid!

Natalie Wood as Alva gives one of her best adult performances. It’s not her fault that the character is a mash up of many Williams’ heroines. My only criticism is that Wood strived for realism and authenticity, but too often falls back on being movie star glamorous, with an endless array of tight-fitting frocks and perfect ‘60s makeup. One example: When Alva does the walk of shame out of town after drunkenly marrying Mama’s stud, Wood is beyond bedraggled. Yet, as she gets off the train in New Orleans, with a cloud of smoke behind her, Natalie looks radiant. 

Still, as a vehicle for the actress, Wood gets to shine in a number of set pieces: the birthday cake scene, where Owen first sees flitting and flirting Alva, literally glowing in candlelight; Alva’s boxcar tour for Owen, where the two try to understand one another’s outlook on life; the scarecrow scene; after Legate’s beat down, where Owen finally lets his guard down to Alva; the argument where Mama guilt trips Alva into her plan by citing vicious comments made by her late father; the final scene where Mama finds Alma in New Orleans; and the best, the mother-daughter barroom showdown with drunken Alma.

Gossip has grown over the years as to how much Natalie drank in this scene. 
IMO, Wood is too on the ball here to be blotto.

One of my pet peeves is Hollywood "anecdotes" that become taken as absolute truth in the Internet age. Here, in Property, it is said Natalie got drunk to do the big showdown scene between her and Kate Reid. I don't doubt that perhaps Wood had a drink or two to get in the mood of playing drunk, as she was at times a tensed up actress. But you have to be pretty high functioning to play Tennessee Williams blitzed. In this scene, a drunken Alva is toying with her aging admirer, goading her mother, and taunting her mama's younger boyfriend. The scene is mostly on Natalie’s shoulders, and it’s easily the best one in the movie. 

Director Pollack with his stars, who enjoyed working together.

About Wood drinking for the scene, director Pollack told Natasha biographer Suzanne Finstad: "I don't necessarily believe in tricks like that, but in this case, I thought it worked very well. She had two glasses of wine and it just took the edge off."

But a few years later, Pollack told Gavin Lambert for his 2004 Natalie Wood: A Life bio:

"We started in the morning and it didn't feel quite right. Not enough charge. So I decided to break early for lunch, and gave Natalie a glass of wine. She drank it but said, 'You son of a bitch, are you telling me I can't play this scene without getting drunk?' Then she laughed, and as the wine started to wear off, she asked for more. She drank six glasses in all, played the scene wonderfully—and threw up after finishing it."

And this is how show biz “stories” grow—in this case, starting from the director. Either way, the point here was that the wine was to relax Natalie, not serve as a substitute for acting.  

Another myth is that This Property Is Condemned was made to bolster Natalie's career after a long string of bombs. Not true. While Natalie's adult career took off with West Side Story, Gypsy, and her best screen performance in Splendor in the Grass, along with Love with the Proper Stranger, her box office was fine for the first half of the ‘60s. The problem was that while they were big money makers, 1964’s Sex and the Single Girl and ‘65’s The Great Race were fluff. And when Natalie attempted to stretch with Redford in ‘65’s Inside Daisy Clover and This Property is Condemned, this is when her box office first suffered. But it is important to remember that, on a more modest scale, Natalie had a similar career arc as Elizabeth Taylor. Wood was a popular child star who became a substantial ingénue with Rebel without a Cause and The Searchers. Solid hits, if not classics, like Marjorie Morningstar, Kings Go Forth, and Cash McCall followed. Natalie Wood grew up in front of mid-century moviegoers. While troubled, she wasn’t a scattershot star like Tuesday Weld or later, Patty Duke. Like Elizabeth, the show always went on, and Natalie worked steadily.

Natalie Wood with one of her two Keane paintings. The other portrait was Nat as a child. This shot is haunting, I think.

That is, until after Property, when Wood’s on-again, off-again lover, Warren Beatty, wanted to reunite with her as fellow gangsters in Bonnie and Clyde. She turned that and Barefoot in the Park down, to work on her emotional well-being. The sabbatical was much needed. It's been written that Natalie attempted suicide during the filming of Property. This actually happened after filming. Wood took an overdose of pills after the Christmas holidays, apparently depressed and lonely, in early 1966. She had made her first suicide attempt after the filming of The Great Race near the end of ‘64. And her most serious overdose came in the summer of '66, depressed about her career, and most concerning, over being single and childless. Whether the attempts were emotional cries for help, a couple of these were quite serious, medically.

Though Natalie and Elizabeth were two of the few stars to make the transition 
to adult stardom, their lives weren't easy.

From Suzanne Finstad’s 2001 Natasha, an interview with director Sydney Pollack included this apt observation about Natalie: "There was a fragility in her, and the emotions were very close to the surface: scratch her and get to an emotional color right away. There's something breathless about her, and you feel it, and you feel a kind of quivering just below the surface, a very appealing and vulnerable part of her. She had it in person, too. I've only seen that color twice in actresses. In her, and years ago, I sat at a dinner table with Elizabeth Taylor, and she had the same thing."

Yet, there was a major difference between Natalie Wood and Elizabeth Taylor. While stars both were intense and vulnerable, Elizabeth was totally at ease on screen, and not afraid to muss up her image. Wood wasn't as secure. Natalie's performance mirrors the ‘50s and ‘60s dichotomy of This Property is Condemned itself. Wood never looked more luscious or lovely onscreen—except that she was playing poor white trash. Compare her work with Jane Fonda’s just three years later for Sydney Pollack in They Shoot Horses, Don’t They? Fonda’s desperate Depression era starlet/hooker is gritty and grim, compared to Natalie’s Alva.

Even 5 years prior, ET was too overripe to play Alva Starr in 'Property.'

In Property, the character ages are skewed. While Natalie could pass for girlish, she's cutting it close here at 28, as Alva is 18, a bit like Elizabeth Taylor at 27 playing 20ish Catherine Holly in her one-act Williams expansion,  Suddenly, Last Summer. (Actually, Elizabeth was first announced as Alva, with Montgomery Clift as Owen Legate, and Richard Burton directing—a decade earlier ET and Monty would have been great.) Kate Reid, as the monster mama, was only eight years older than Wood, but looking a bit blowsy, pulls it off. However, as Mama’s boy toy J.J., Charles Bronson at 45, a sinister stud in the Stanley Kowalski mold, already looks weathered.

The big problem of Property, other than expanding a one-act, is that Hollywood censorship and studio self-censorship wreak havoc with character motivations. Alva Starr's morality is constantly teased, but as coy as the character herself, and is left ambiguous. Is Alva a huge flirt in the Scarlett O’ Hara manner? Or is she a glorified whore, who draws male clientele to her mother’s Depression era boarding house? Or is she in denial, ala Blanche Dubois, while carrying on at the Tarantula Arms on the down low? Redford’s character calls her a whore at several key points, Alva’s monster mother throws in her face that she’s slept with every man in town. Despite earlier indications this is true, Alva’s crushed by these accusations.

Owen is alternately enchanted and exasperated by Alva's tales. 

After the climactic scene between Alva and Mrs. Starr, the movie runs out of steam. According to Pollack, in the original script, after their showdown, Alva still runs away. But instead of meeting up with Owen, she becomes a prostitute in New Orleans, picking up men at the train station. In a Williams-esque moment, when one travelling salesman compliments her, Alva asks, "Did you say beautiful?" As he says it again, she responds, "My name is Alva Starr. Starr with two R's."

Instead, the movie reunites the couple, only to have vengeful Mama expose Alva’s prior actions. Owen is angered again, and this sends Alva fleeing into the rainy night. The film takes us back to Willie, back on the railroad tracks, to conclude the tale, explaining that Alva died of a “lung affliction.”

However, I’ve also read that the “Alva as prostitute” scene took place after she runs away from Mama and Owen, followed by her Willie’s railroad epitaph. This makes more sense, or it would have been a 90 minute movie otherwise. Dabney Coleman is listed on various sites as “The Salesman.”  In a recent interview, Coleman commented that his pal Pollack got him the role, but it was cut—though he was thrilled to play a scene with Natalie Wood.

Natalie Wood & Dabney Coleman, in a deleted scene, with Alva waiting for more than a train.

This Property Is Condemned was filmed and released at the same time as Who’s Afraid of Virginia Woolf, but their directors’ takes are totally different. With Woolf, director Mike Nichols fought the Warner Brothers’ interfering and fears, and the result was a film that was an artistic victory, broke the censorship codes, and was a smash hit. Property's studio and producer John Houseman held sway over the production, smoothing away the rough edges. Sydney Pollack was just as much a film novice as Mike Nichols, but pegged himself early on as a skilled but obedient studio director. And so this Property suffered accordingly.

In another deleted scene, Wood with 40-something boy toy Charles Bronson.

At the time, Williams' once-daring work seemed dated compared to the realistic style of the ‘60s and early ‘70s, making him passé. However, Tennessee Williams’ work has passed on into classic status, especially after he died. Although Natalie Wood is often first remembered for her mysterious death, I hope she will also be remembered for her best work.

 I am not a film fabulist, who insists there is movie magic where there is actually none. But I do think that Natalie Wood was much underrated as an actress, especially here, as Alva Starr. Like her friend Elizabeth Taylor, Wood’s range wasn’t huge, but within her reach, Natalie was naturally appealing and hauntingly memorable.

The lovely moment where Redford's Owen sees Natalie's Alva Starr for the first time.

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Tootsie 1982

'Tootsie' still has lots to say about sexism!

I just re-watched 1982’s Tootsie, not having seen it in some time. In the current era of the #metoo movement, some of the issues between the film’s male and female characters are especially relevant. Most importantly, Tootsie is still funny and fresh, over 35 years later.

The original poster for 'Tootsie' sums it all up...

Dustin Hoffman plays Michael Dorsey, a struggling actor well-known for being difficult. With no prospects, Michael auditions for a soap opera …as a woman. Surprisingly, he lands the role. Unsurprisingly, as Dorothy Michaels, he’s just as opinionated, rubbing the powers that be the wrong way. The biggest surprise of all is, playing an actress playing a hospital bigwig, Michael is a hit! And that’s just the beginning of this classic comedy with brains—and heart.

Michael becoming Dorothy Michaels...

I always assumed that Dustin won the Oscar for Tootsie. Not so, Ben Kingsley did, as Gandhi. Let’s just say that Tootsie’s Dorothy isn’t as big on passive resistance! Dustin Hoffman's take on a strong woman is wonderful. There are times when watching Tootsie that I forgot I was watching a man playing a woman. I just loved Dorothy and missed her when she wasn’t onscreen. Michael’s character was patterned after Dustin himself, though in recent years, Hoffman claims he never considered himself difficult. Oh, really? Have you ever heard of an actor who admitted that they were? Even Bette Davis made repeated pronouncements that she was not difficult to work with!

Jessica Lange as Julie and Dustin Hoffman as Dorothy Michaels, looking astonished at their soap plotlines!

Hoffman’s presence in this film is especially noteworthy because he too has been accused of sexually inappropriate behavior by the #metoo movement. Aside from clashing with directors and writers, Dustin’s been known to go a few rounds with co-stars—even Lord Olivier. With women, he at times has come across as sexist, as Meryl Streep recalled recently. This all clashes with his proclaiming to have seen the light regarding male chauvinism during Tootsie’s making. Yet Hoffman is hardly the first person on the planet to talk the talk, but not walk the walk, high heels or no.

That said, Hoffman gives a helluva performance as Michael Dorsey/Dorothy Michaels. As the 40-ish actor, Dustin’s energetic and funny, but also increasingly serious and sensitive to his alter ego. And as Dorothy, running roughshod over the clichéd soap scripts and sexist director, watching Hoffman’s creation come to life is a delight. The fact that everyone loves this unlikely soap star has you rooting for Dorothy to kick some more ass!

Jessica Lange in her Marilyn Monroe-like role as an unlucky in love soap star.

Jessica Lange, who plays it straight to the antics around her, gives a sweet, Marilyn Monroe-esque performance as the soap actress, Julie. I haven’t watched Tootsie in years, and seeing the softer side of Lange was a pleasant surprise from her latter day neurotics. Jessica as Julie is fascinating to watch, as her character grows from her friendship with firebrand Dorothy. Lange is a Billy Wilder/Marilyn Monroe fan, and her sweetly sad, soft-spoken, slightly tipsy character seems like a nod to Marilyn’s most famous role, as Sugar Kane in Wilder’s cross-dressing classic, Some Like It Hot.

Terri Garr as Sandy, the actress who is unlucky, period!

Terri Garr, in another era, would have been a classic supporting comic actress. As Sandy, the hapless struggling actress, Garr is a delight as the girl who is utterly confused by Tootsie’s proceedings. Frustrated by that “that cow” Dorothy Michaels, who got her role, to crossing the line with best friend Michael Dorsey, then feeling double crossed, Terri is hilariously hysterical, but also comes off as human, and not a cartoon. Garr’s career ran the gamut, from dancing in background of Elvis musicals, to guest shots on Star Trek, as a regular on The Sonny and Cher Comedy Hour, to her breakthrough in Mel Brooks’ Young Frankenstein, and in Tootsie, she hit her peak.

Dabney Coleman as Ron, the sexist director, explaining why HE'S the injured party regarding his playing around.

And who plays a sexist jerk better than Dabney Coleman? The character actor became synonymous with male chauvinist pig as the boss in 9 to 5. Coleman’s philandering, paternalistic director does a slow burn as he clashes with Hoffman’s Dorothy. Watching Coleman’s Ron in action gives Michael’s character something to ponder, regarding his own shortcomings as a man.

Charles Durning as Jessica's romantic dad, who has designs on Hoffman's Dorothy!

Like the rest of the cast, Charles Durning comes off as effortlessly real as Julie’s widower dad, Les. Durning is so likeable as the old-school guy with a romantic heart that I somehow wanted it all to work out between him and ‘Dorothy.’ Some of the best scenes are when Julie and Dorothy spend the holidays with Les. They’re lovely and generate genuine laughs from a crazy scenario: Les falls in love with Dorothy, Michael disguised as Dorothy, is in love with Julie. And Julie just wants her dad to be happy!

Bill Murray as Dustin's roommate, Jeff, has some of the best one-liners in 'Tootsie.'

I actually forgot that Bill Murray, not billed in the opening credits, was in Tootsie—and he’s such a great commentator on the action. Murray doesn’t resort to mugging, but relies on his best asset—his deadpan mug and dry humor—the perfect reaction to Tootsie’s antics.

Doris Belack is bitingly funny and real as Rita, the no-nonsense producer who gives Dorothy her big break. And George Gaynes is a hoot as John Van Horn, the ham soap star who fears improvising and going live equally. 

There’s also Geena Davis, in her first film role, as a starlet. Her moments are eye-catching, especially where she’s in her underwear, distracting Michael, as Dorothy. And look close for Golden Girls’ Estelle Getty as a fan of Dorothy’s, while she’s out dancing with Les.

Dustin as Dorothy: Who wore it better?

Jane does dowdy in '9 to 5.'

George Masters, makeup and hair guru, was famous for giving Marilyn Monroe her final 'white' look, is responsible for Dorothy Michael's look. Watching Tootsie this time, I realized that Dustin’s Dorothy and Jane Fonda’s 9 to 5’s frumpy secretary had the same look going!

Director Sydney Pollack as Dustin Hoffman's frazzled agent, was a natural comic actor.

In the documentary on Tootsie, Sydney Pollack claimed he didn’t want to do it, citing that he was a dramatic director, not a comedy director. True, but perhaps he should have directed more comedies, as this is easily his best film. Sydney Pollack's major strength as a director was that he was great with actors. Dramatically, he was a solid, but not inspired studio director. Hoffman freely admits that he badgered Pollack, a one-time actor, into playing his agent, mirroring their off-screen bickering. And Sydney’s hilarious!

From all that’s been written about the making of Tootsie, this film took a long time to evolve to the seamless and smart comedy that was a commercial and critical hit.

Both Murray Schisgal and Larry Gelbart got screenwriting credits, though Elaine May was called in to give it a rewrite for her smart outlook, humor, and a woman’s point of view. Hoffman clashed with Gelbart, who later commented, “Tootsie is my vision, despite Dustin Hoffman's lifelong mission to deprive anybody of any credit connected with that movie, except for his close friend, the writer and producer Murray Schisgal.”

Dustin's Michael Dorsey tells Jessica's Julie why he's a better man for having been a woman.

It is noteworthy that of the two, Larry Gelbart got an original story credit, and his writing career was far more stellar than Schigal’s. Gelbart also stated, “I do know that the central theme for Tootsie came from me…that Dustin's character, Michael Dorsey, would become a better man for having been a woman. That was the cornerstone of the film.”

Regardless of who wrote what, Tootsie is still one smart cookie of a comedy. Its look at how men view women, women in the workplace, women as friends—this was all still edgy for 1982.

The only thing that dates this movie is the sappy though catchy Stephen Bishop tune during that era’s inevitable montage scene. But I can handle that, as it shows everyone adoring Dorothy Michaels, as do I.

Who doesn't adore Dorothy in 'Tootsie?'