AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Alternate Title: Would I Lie to You?
Director: Sydney Pollack (Dir)
Release Date:   17 Dec 1982
Premiere Information:   New York and Los Angeles openings: 17 Dec 1982
Production Date:   1 Apr--28 Aug 1982 in New York City and Hudson Valley, NY
Duration (in mins):   116
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Cast:   Dustin Hoffman (Michael Dorsey/Dorothy Michaels)  
    Jessica Lange (Julie [Nichols])  
    Teri Garr (Sandy [Lester])  
    Dabney Coleman (Ron [Carlisle])  
    George Gaynes (John Van Horn)  
    Geena Davis (April [Page])  
    Doris Belack (Rita [Marshall])  
  and Charles Durning (Les [Nichols])  
    Bill Murray (Jeff [Slater])  
    Sydney Pollack (George Fields)  
    Ellen Foley (Jacqui)  
    Peter Gatto (Rick)  
    Lynne Thigpen (Jo)  
    Ronald L. Schwary (Phil Weintraub)  
    Debra Mooney (Mrs. Mallory)  
    Amy Lawrence (Amy)  
    Kenny Sinclair (Boy)  
    Susan Merson (Page)  
    Michael Ryan (Middle-aged man)  
    Robert D. Wilson (Stage hand)  
    James Carruthers (Middle-aged man)  
    Estelle Getty (Middle-aged woman)  
    Christine Ebersole (Linda)  
    Bernie Pollack (Actor #1)  
    Sam Stoneburner (Actor #2)  
    Marjorie Lovett (Salesgirl)  
    Willy Switkes (Man at cab)  
    Gregory Camillucci (Maitre d')  
    Barbara Spiegel (Billie)  
    Tony Craig (Joel Spector)  
    Walter Cline (Bartender)  
    Suzanne Von Schaack (Party girl)  
    Anne Shropshire (Mrs. Crawley)  
    Pamela Lincoln (Secretary)  
    Mary Donnet (Receptionist)  
    Bernie Passeltiner (Mac)  
    Mallory Jones (Girl #1)  
    Patti Cohane (Girl #2)  
    Murray Schisgal (Party guest)  
    Greg Gorman (Photographer)  
    Anne Prager (Acting student)  
    John Carpenter (First actor)  
    Bob Levine (Second actor)  
    Richard Whiting (Priest)  
    Jim Jansen (Stage manager #2)  
    Susan Egbert (Diane)  
    Kas Self (Acting student)  
    Tom Mardirosian (Stage manager)  
    Richard Wirth (Mel [Technical director])  
    Gavin Reed (Director)  
  Autograph hounds: Annie Korzen    
    Ibbits Warriner    
    Lois De Banzie    
    Stephen C. Prutting    
  [and] Carole Holland    
    Andy Warhol (Himself)  

Summary: Although Michael Dorsey is a passionate and respected acting coach in the New York City theater scene, directors continually refuse to hire him because of his combative personality and perfectionism. On his birthday, Michael’s amateur playwright roommate, Jeff Slater, throws him a surprise party at their apartment. Afterward, Michael helps his actress friend Sandy Lester prepare her audition for the television soap opera, Southwest General. The next morning, Michael accompanies Sandy to the studio, where she is promptly rejected for her appearance. Upon learning that one of his former colleagues received a Broadway role he had been expecting to play, Michael barges into the office of his talent agent, George Fields, and desperately demands more acting jobs. Distressed, George informs Michael that his notorious reputation for being difficult to work with has made him unemployable in the entertainment industry. As a result, Michael returns to the television studio and auditions for Southwest General dressed as a middle-aged woman named “Dorothy Michaels.” When director Ron Carlisle dismisses “Dorothy” for not being threatening enough to play the “masculine” hospital administrator, “Emily Kimberly,” she criticizes him for his sexist depiction of women. Impressed by “Dorothy’s” gumption, Ron and producer Rita Marshall hire her for the role. Still in disguise, Michael follows George into a restaurant to announce the news of his job offer, and convinces the agent to loan him money for clothes, makeup, and wigs until he receives his first paycheck. Although Michael plans to use the $8,000 wages to produce Jeff’s most recent play, Return to the Love Canal, he keeps his casting a secret from Sandy by claiming he inherited the money from a dead relative. Michael is inspired to try on her clothes while she showers, but when she catches him undressing, he attempts to cover his actions by confessing that he wants to have sex with her. Afterward, she fears that their relationship will change, but Michael promises to continue dating her. The next morning, he awakens early to groom himself and apply makeup for “Dorothy’s” first day of filming. Once in her dressing room, she meets another actress, April Page, and receives the day’s last-minute script changes. On the set, “Dorothy” watches uncomfortably as Ron condescendingly directs the show’s star, Julie Nichols. She is then required to film her scene without rehearsal, and improvises her way out of having to kiss her philandering co-star, John Van Horn. Although her colleagues praise her for the instinctual change, the actor kisses her off-camera anyway. Later, “Dorothy” watches as Julie and Ron leave the studio together, prompting her to become increasingly annoyed with their boss’s chauvinist behavior. When the telephone rings that night, Michael and Jeff argue about how to answer in case the call is for “Dorothy,” and Jeff leaves in frustration. Over the next few weeks, “Dorothy’s” presence elevates the quality of the show and gains her a large fan following. While staying late for re-shoots, “Dorothy” sees Ron kissing April behind the set, but decides not to tell Julie. Forgetting Michael’s dinner date with Sandy that evening, “Dorothy” accepts Julie’s invitation to rehearse their lines for the next day. After fretting over what to wear, “Dorothy” goes to Julie’s apartment and learns that she has an infant daughter. She asks questions about Julie’s relationship with Ron and they discuss the difficulties of being a woman in the 1980s. Suddenly remembering his obligation with Sandy, Michael returns home and removes the disguise before running to her apartment. Despite his apologies, Sandy declares that she saw “Dorothy” entering Michael’s apartment earlier, mistaking her for his lover. Michael claims that she is a friend of Jeff’s, and Sandy apologizes, blaming her continued bitterness over losing the part on Southwest General. After she criticizes “Dorothy’s” dialogue on the show, Michael begins to improvise lines that strengthen the program’s feminist message. Consequently, both “Dorothy” and the character gain national media attention, and Michael unsuccessfully begs George to let him audition for other female roles. Instead, the agent invites him to a party hosted by a high-profile Broadway producer, also attended by Julie and Ron. Michael then attempts to flirt with Julie by using a pick-up line she referenced in an earlier conversation with “Dorothy;” the plan backfires, however, as she throws champagne in his face. At work, “Dorothy” chastises Ron for disrespectfully addressing her as “Tootsie,” and later accepts Julie’s invitation to stay at her father Les’s farmhouse for the weekend. As Les grows more attracted to “Dorothy,” she eventually escapes his advances by retreating to her and Julie’s room, where they share a bed and fall asleep snuggled together. Once back in New York City, “Dorothy” receives a box of chocolates from Les, and Rita Marshall signs her for another year on Southwest General. Michael hopes to get out of the commitment, but George insists that revealing his identity would ruin both their careers. One night, “Dorothy” babysits Julie’s daughter while she ends her relationship with Ron. Upon returning, Julie admits that she has very strong feelings for “Dorothy," who responds by attempting to kiss her. Moments later, Les invites “Dorothy” on a date and proposes marriage. Startled, “Dorothy” agrees to “think about it,” and finds John Van Horn waiting on her doorstep at home. Declaring his love, he forces himself on her until Jeff walks in and John leaves in embarrassment. Moments later, Sandy arrives, and the roommates scramble to remove Michael’s disguise. As she confronts him about his evasiveness, Michael gives her “Dorothy’s” box of chocolates, but she finds Les’s note attached to the wrapping. Although Michael explains that he is in love with another woman, Sandy believes he is lying to conceal his homosexuality. At work the next day, Julie thanks “Dorothy” for inspiring her to be true to herself, but ultimately ends their friendship in order to extinguish any hope “Dorothy” may have for a romantic relationship. When a technical difficulty forces the cast to perform their scenes on live television, “Dorothy” strays from the script, inventing an outrageous monologue and pulling off her wig to reveal that “Emily Kimberly” is actually her twin brother, “Edward.” Audience and crew members alike are shocked by the revelation, and once the camera cuts, Julie punches Michael in the stomach. As the ensuing media frenzy begins to diminish, Michael returns Les’s engagement ring and admits that he has always been attracted to Julie. One day, Michael waits for Julie outside of work and apologizes for hurting her. When she confesses that she misses “Dorothy,” he declares, “I was a better man with you as a woman than I ever was with a woman as a man.” Smiling, she asks to borrow one of his dresses, and they walk together down the street. 

Production Company: Mirage Enterprises  
  Punch Productions  
  Columbia Pictures  
  Delphi Productions  
Production Text: Columbia Pictures Presents
A Sydney Pollack Film
A Mirage/Punch Production
From Columbia - Delphi Productions
Distribution Company: Columbia Pictures  
Director: Sydney Pollack (Dir)
  Gerald R. Molen (Unit prod mgr)
  David McGiffert (Asst dir)
  Joseph Reidy (2d asst dir)
  Ann Egbert (DGA trainee)
Producer: Sydney Pollack (Prod)
  Dick Richards (Prod)
  Charles Evans (Exec prod)
Writer: Larry Gelbart (Scr)
  Murray Schisgal (Scr)
  Don McGuire (Story)
  Larry Gelbart (Story)
Photography: Owen Roizman (Dir of photog)
  Bill Steiner (Cam op)
  Michael Green (Cam 1st asst)
  Scott Rathner (Cam 2d asst)
  Brian Hamill (Unit still photog)
  Dick Quinlan (Gaffer)
  Bob Rose (Key grip)
  Michael Miller (Key grip)
Art Direction: Peter Larkin (Prod des)
Film Editor: Fredric Steinkamp (Ed)
  William Steinkamp (Ed)
  Nancy Weizer (Asst ed)
  Don Brochu (Asst ed)
  Jill Savitt (Asst ed)
Set Decoration: Tom Tonery (Set dec)
  William Lucek (Scenic artist)
  Jimmy Raitt (Prop master)
Costumes: Ruth Morley (Cost des by)
  Bernie Pollack (Cost supv)
  Franke Piazza (Men's costumer)
  Jennifer Nichols (Women's costumer)
Music: Dave Grusin (Mus)
  Else Blangsted (Mus ed)
Sound: Les Lazarowitz (Sd mixer)
  Tod Maitland (Boom man)
  Effective Sound Unlimited (Sd eff)
  Tom McCarthy, Jr. (Sd eff)
  Don Walden (Sd eff)
  Arthur Piantadosi (Re-rec mixer)
  Les Fresholtz (Re-rec mixer)
  Dick Alexander (Re-rec mixer)
Special Effects: Pacific Title (Titles and opticals by)
Make Up: Dorthy Pearl (Mr. Hoffman's makeup created and des by)
  George Masters (Mr. Hoffman's makeup created and des by)
  C. Romaina Ford (Makeup artist)
  Allen Weisinger (Mr. Hoffman's makeup)
  Joe Coscia (Hairstylist)
  Tony Marrero (Hairstylist)
  Dorothy Pearl (Ms. Lange's makeup)
  Toni Walker (Ms. Lange's hair stylist)
Production Misc: Lynn Stalmaster (Casting)
  Toni Howard & Associates (Casting)
  Ken Ryan (Auditor)
  Anne Guerin (Unit pub)
  Sylvia Fay (Extra casting )
  Renee Bodner (Scr supv)
  Pete Lombardi (Asst auditor)
  Whitey McEvoy (Transportation capt)
  Ezra Swerdlow (Loc mgr)
  Jonathan Filley (Loc mgr)
  Bruce Patterson (Prod office coord)
  Harriette Kanew (Asst prod office coord)
  Lee Gottsegen (Asst to Dustin Hoffman)
  Crin Connolly (Asst to Sydney Pollack)
  Tom Burns (Prod asst)
  Justin Cooke (Prod asst)
  David Sardi (Prod asst)
  Carey Bozanich (Prod asst)
  Stephanie Brooks (Prod asst)
  Gary Vermillion (Prod asst)
  Karl Steinkamp (Prod asst)
  Tony Lani (Prod asst)
Color Personnel: Technicolor® (Col by)
MPAA Rating: PG
Country: United States
Language: English

Songs: "Tootsie," lyrics by Alan Bergman and Marilyn Bergman, music by Dave Grusin, sung by Stephen Bishop; "It Might Be You," lyrics by Alan Bergman and Marilyn Bergman, music by Dave Grusin, sung by Stephen Bishop.
Composer: Alan Bergman
  Marilyn Bergman
  Dave Grusin
Source Text:

Copyright Claimant Copyright Date Copyright Number
Columbia Pictures Industries, Inc. 7/1/1983 dd/mm/yyyy PA159634

PCA NO: 26870
Physical Properties: Sd:
  Lenses: Lenses and Panaflex® Camera by Panavision®

Genre: Comedy-drama
Sub-Genre: Show business
Subjects (Major): Actors and actresses
  Female impersonation
  Television programs
Subjects (Minor): Farmers
  Impersonation and imposture
  New York City
  Proposals (Marital)
  Single parents
  Talent agents
  Television directors
  Unrequited love

Note: End credits include the following acknowledgments: “LIFE title and format used with permission of Time, Incorporated,” and, “The Producers would like to thank the following who have helped make this picture possible: the New York City Mayor’s Office of Film, Theatre and Broadcasting; National Academy of Television Arts and Sciences; Ben Kahn Furriers for Dustin Hoffman’s furs; Jack Waltzer and his Acting Class; Marvin Belsky, M.D.”
       Although onscreen credits denote a copyright date of 1982, Columbia Pictures Industries, Inc. did not register the film with the U.S. Copyright Office until 7 Jan 1983.
       A 6 Oct 1975 DV article named Would I Lie to You?, a Martin Baum-produced Buddy Hackett comedy about a “broke agent,” as one of a group of features set to begin production under Cine Artists Productions, a company scheduled to launch 1 Nov 1975. The 27 Oct 1983 issue of Film Journal reported that the story was adapted by Don McGuire in early 1979, from his own play about a female impersonator pressured into taking a television role playing a nurse. The script was then purchased by Charles Evans, who partnered with actor George Hamilton, screenwriter Robert Kaufman, and director Dick Richards. After Kaufman rewrote the script, he left the project due to creative differences with Evans’s producer brother, Robert Evans.
       Meanwhile, in 1978, Dustin Hoffman and playwright Murray Schisgal began developing a script titled Shirley, about a male tennis player who pretends to be female in order to win matches. Some time after Hoffman and Schisgal abandoned their idea, Richards brought his screenplay to Hoffman and Columbia Pictures, which, along with additional financing from the Coca-Cola Company, agreed to fund the film’s development. Once the studio officially purchased the property, Charles Evans was named executive producer, and Hoffman hired Schisgal to do another rewrite. The article stated that Schisgal borrowed the title, Tootsie, from one of his previous works, but a 16 Dec 1982 LAT article claimed that it was derived from an affectionate childhood nickname used by Hoffman’s mother. The 12 Dec 1979 Var announced that Hoffman and Richards signed an “open-ended” deal with Columbia to produce three films together, the first of which was to be Tootsie. Production was scheduled to begin in summer 1980, with a late 1980 or early 1981 release. A conflicting 15 Feb 1980 HR article suggested that Hoffman had signed a commitment to begin work on his and Richards’ film, Glossy. Film Journal stated that following the completion of Schisgal’s two first drafts in late 1979 and Jun 1980, Richards was unhappy with the “sardonic,” humorless tone, and decided to step down as director and instead serve as one of the film’s producers. The 21 Apr 1980 DV indicated that Schisgal’s script was hoped to be completed in time to begin production that fall.
       The 18 Jun 1981 DV announced that Hal Ashby had assumed the responsibility of directing a script now written by Larry Gelbart. Three months later, the 9 Sep 1981 Var “Hollywood Soundtrack” column stated that Ashby began preproduction while simultaneously completing post-production on his Lorimar-produced film, Lookin’ to Get Out (1982, see entry). However, the 20 Oct 1981 HR stated that Ashby was likely no longer involved, since his contractual obligation to complete Lookin’ to Get Out interfered with Tootsie’s required ninety-day preproduction period. Despite the change, Columbia stressed the necessity of beginning work by Jan 1982, in order to meet weather requirements and maintain current actor commitments. With the budget set at $15 million, four weeks of rehearsal were expected to take place in Hollywood, CA, before the start of the sixteen-week shoot in Los Angeles, CA, and New York City.
       According to the 4 Nov 1981 DV, negotiations to replace Ashby with Sydney Pollack began in late 1981, as Pollack completed Columbia’s Absence of Malice (1981, see entry). The decision was confirmed in the 17 Dec 1981 DV, which listed a delayed start date for Tootsie of 1 Mar 1982. A 19 Dec 1982 NYT story reported that Pollack originally turned down the job, citing it as a “one-joke movie,” but was ultimately intrigued by the possibility of using realism to develop the story’s themes and the changes undergone by Hoffman’s character, “Michael Dorsey.” Film Journal stated that as production loomed nearer, Pollack was still unhappy with the script and sought revisions from writers Barry Levinson and Robert Garland. Levinson’s partner, Valerie Curtin, was reportedly also involved, but her name was not included in any other contemporary sources. Their ten-day contributions were minimal, however, and Pollack reached out to Robert Kaufman, but did not have the money to pay him. As a result, Pollack used a pair of scissors to cut and paste a cohesive, 143-page screenplay from drafts written by McGuire, Kaufman, Schisgal, Gelbart, and Elaine May, who had been hired to add “a woman’s touch.” The 16 Dec 1982 LAT also credited Elaine May with the addition of Bill Murray’s character, “Jeff Slater.” The script was later cut to 125 pages, as Schisgal stayed on the project, without pay, to make modifications throughout production. The article and a 12 Dec 1982 LAHExam story suggested that Gelbart was the highest paid screenwriter, and that total script costs amounted to somewhere between $1.25 million and $2 million. The 15 Nov 1982 DV’s “Just for Variety” column announced that the Writers Guild of America (WGA) officially designated the film’s screenwriting and story credits, leaving Kaufman, Levinson, Garland, and Curtin uncredited, with May deliberately choosing to remain anonymous.
       According to a 15 May 1983 LAT article about the publication of Susan Dworkin’s 1983 book, Making ‘Tootsie’: A Film Study With Dustin Hoffman and Sidney Pollack, previous contenders for Michael Dorsey/“Dorothy Michaels” included George Hamilton, Chevy Chase, Elliott Gould, and George Segal, while actress Teri Garr originally wanted the role of “Julie Nichols.” However, aside from Hamilton’s early attachment to McGuire’s script, these reports were not verified by other contemporary sources. The 19 Dec 1982 NYT stated that it was Hoffman who suggested casting Bill Murray, and the 12 Dec 1982 LAHExam claimed that, as a practical joke, Murray requested he receive no credit or publicity for his minor role. Film Journal reported that this was done so as not to “confuse” Murray’s younger audience, which was more accustomed to his comedic performances. Although the official budget allotted him a $150,000 paycheck, Murray was reportedly paid $1 million. Hoffman also convinced Pollack, a former actor, to return to the screen to play agent “George Fields.” The 19 Jan 1986 NYT reported that Barneys NY employee Jack D. Weiss helped select Pollack’s clothes for the role, spending more than two hours with the filmmaker deciding on a pair of shoes to be worn for a scene that was later edited out of the film. The 16 Mar 1982 Var stated that Pollack offered the role of “Ron Carlisle” to his friend and fellow director, Mark Rydell, who declined due to commitments to various other projects, including Nuts (1987, see entry), which was ultimately directed by Martin Ritt. Geena Davis’s performance as “April Page” marked her motion picture acting debut.
       As reported by the 10 Mar 1983 DV, Hoffman prepared by researching the ABC soap opera, General Hospital (1 Apr 1963-- ) and its producer, Gloria Monty. A 2 Apr 1983 LAT brief stated that he spent three months observing the production backstage. The 17 Jan 1983 issue of People magazine claimed the actor based his performance as Dorothy Michaels on his mother, Lillian Hoffman, who died of a stroke while the picture was in production.
       According to a 13 Jul 1982 NYT article, Hoffman’s contract stipulated that he would not do the film if his physical transformation into Dorothy did not look convincing. Over two months of screen testing, filmmakers consulted a female impersonator about Hoffman’s figure, and hid his throat and Adam’s apple behind scarves and costumes with high necklines. People stated that Dorothy’s wig was changed from “cheap” blonde to brown, while Hoffman was required to shave his body hair, undergo pore-minimizing skin treatments, and wear false teeth. The 16 Dec 1982 LAT and a 27 Sep 1982 DV article by Steven Ginsberg stated that he spent ninety minutes getting dressed each day in foam-rubber buttock padding and four-pound silicone breasts. The two-and-a-half hour makeup application reportedly took two years to perfect, but Hoffman’s skin ultimately appeared discolored next to the other actors and required alterations. A 22 Apr 1982 DV brief announced that filming was postponed for four days after Hoffman had an allergic reaction to the makeup. Filming fell an additional two weeks behind schedule because the summer heat caused the makeup to wear off and his beard to show through after only four or five hours, minimizing the amount of time he was able to work each day.
       In a 4 Jan 1983 LAT article, University of California, Los Angeles, speech consultant Sonya Packer revealed that she was anonymously contacted by one of the film’s producers, who then referred her to Hoffman. To perfect the higher pitches of Dorothy’s voice, she periodically met with the actor from Jul 1980 to Jul 1981, and later, at Hoffman’s recommendation, secretly coached multiple actresses being considered for the picture. Packer does not receive onscreen credit for her contributions. The 13 Jul 1982 NYT stated that Hoffman practiced speaking with a woman’s voice using an oscilloscope from Columbia University in New York City. He reportedly wanted to deliver the lines in French, but he and Pollack decided on using a Southern accent instead. People suggested that Hoffman adopted Dorothy’s lilt by spending two weeks training with his friend, Alabama-born actress Polly Holliday, who the 20 Oct 1981 HR indicated was also considered for an onscreen role.
       The 16 Dec 1982 LAT reported that principal photography took place in New York City between 1 Apr and 28 Aug 1982. Screen International estimated that production was originally scheduled to conclude 1 Jul 1982, but the Steven Ginsberg article confirmed that the film finished twenty-three days over its original seventy-five day schedule, attributed to one day of rehearsal, one day of screen tests, one day of retakes, and unexpected “slowness.” In addition to the delays caused by Hoffman’s makeup, the 27 Sep 1982 DV stated that the actor suffered from bronchitis and had his hand injured in a door. Pollack disputed previous reports that the film cost $32 million, claiming that the production totalled $21,019,940 without interest—roughly six percent above the original $19,764,946 budget. While a 22 Apr 1981 HR brief listed Hoffman’s paycheck at $2 million, the 16 Dec 1982 LAT and 19 Nov 1981 LAHExam estimated the amount between $3.5 and $4.5 million. Pollack reportedly earned $1.75 million. Film Journal compared those numbers to Jessica Lange’s wages of approximately $500,000—$700,000.
       A 7 Apr 1982 HR article stated that the film’s soap opera set would occupy the entirety of the TV-1 video studio at the National Video Center and Recording Studios throughout the rest of the month; however, a 26 May 1982 Var item indicated that production had recently returned to the facilities after two weeks of location shooting. As reported in the 13 Jul 1982 NYT, filming took place at the Russian Tea Room, Central Park, and outside Bloomingdale’s department store, while a 4 Aug 1982 DV brief also included NY’s Hudson Valley among the locations. Film Journal reported that the opening montage was filmed at the Palladium in New York City on the final day of production.
       The 22 Aug 1984 DV reported that during principal photography, a New York City pedestrian named Linda Shafarman broke both her legs when she was run over by one of the film’s production trucks on 26 Apr 1982. The story indicated that she later received a $1.75 million settlement from Mirage Enterprises and Ryder Truck Rental Co., and Erie Transfer Co., which supplied the vehicle.
       Various sources, including the 16 Dec 1982 LAT, indicated that Hoffman argued for creative control throughout production, eventually demanding the right to determine the film’s final cut. He and Pollack frequently fought, sometimes physically, but insisted the disputes were for the benefit of the picture. Although Pollack had ultimate authority, Hoffman was allowed to contribute to the editing process, which took place just six weeks before release.
       The 16 Nov 1982 DV listed Tootsie among the films that had received an “R” rating from the Motion Picture Association of America (MPAA). However, a 20 Nov 1982 HR news item indicated that Columbia almost immediately appealed the decision, and had the rating changed to “PG” by the Classification and Ratings Appeals Board.
       Film Journal claimed that Columbia spent an additional $8—$10 million on marketing costs. According to the 13 Dec 1982 LAT, the Los Angeles premiere took place the week of 6 Dec 1982. An 8 Dec 1982 Var story stated that Columbia held screenings of Tootsie and The Toy (1982, see entry) the two previous weekends, with the intention of previewing Tootsie on 11 Dec 1982, before expanding to wide national release on 17 Dec 1982. After 108 days in theaters, the 6 Apr 1983 DV announced that Tootsie had become Columbia’s highest-grossing film to date.
       Jessica Lange won an Academy Award for Best Supporting Actress, and the film was also nominated for the following nine categories: Best Picture, Directing, Writing, Film Editing, Cinematography, Music (Original Song), Sound, Actor—Dustin Hoffman, and Supporting Actress—Teri Garr. Tootsie ranked #62 on AFI’s 100 Greatest American Films of All Time in 1998, and #69 in 2007. The film is also listed as AFI’s second Funniest Movie All Time.
       In addition to Dworkin’s behind-the-scenes book, the 28 Oct 1983 HR noted the non-theatrical release of the fifty-minute documentary feature, The Making of Tootsie, which chronicled the production of the film from the beginning of its development through the completion of principal photography.
       On 17 Dec 1996, HR stated that Dustin Hoffman and an unnamed Tootsie producer from his company, Punch Productions, filed a lawsuit against Columbia, alleging they were jointly denied $1.5 million of the film’s earnings between 1986 and 1990. As a result, they claimed the studio breached the contractual agreement guaranteeing Hoffman twenty-five percent of any grosses earned above $130 million. The outcome of the suit has not been determined.
       In 2003, the 17 Jun DV announced that Broadway director-producer Harold Prince spoke with Larry Gelbart and Cy Coleman about converting Tootsie into a stage musical. A 24 Aug 2012 DV article named the production the first Sony feature film to be adapted for the stage after Sony Pictures Entertainment’s recent partnership with Scott Sanders Theatrical Productions, but as of Aug 2014, the project has not moved ahead. 

Bibliographic Sources:   Date   Page
Daily Variety   6 Oct 1975.   
Daily Variety   21 Apr 1980   p. 16, 18.
Daily Variety   18 Jun 1981.   
Daily Variety   4 Nov 1981.   
Daily Variety   17 Dec 1981.   
Daily Variety   22 Apr 1982.   
Daily Variety   4 Aug 1982.   
Daily Variety   27 Sep 1982.   
Daily Variety   15 Nov 1982.   
Daily Variety   16 Nov 1982.   
Daily Variety   10 Mar 1983.   
Daily Variety   6 Apr 1983.   
Daily Variety   22 Aug 1984.   
Daily Variety   17 Jun 2003.   
Daily Variety   24 Aug 2012   p. 3, 41.
Film Journal   27 Oct 1983   pp. 5-7, 24.
Hollywood Reporter   15 Feb 1980   p. 1, 4.
Hollywood Reporter   22 Apr 1981.   
Hollywood Reporter   20 Oct 1981   p. 1, 10.
Hollywood Reporter   7 Apr 1982.   
Hollywood Reporter   20 Nov 1982   p. 4.
Hollywood Reporter   8 Dec 1982   p. 3, 13.
Hollywood Reporter   28 Oct 1983.   
Hollywood Reporter   17 Dec 1996.   
LAHExam   19 Nov 1981.   
LAHExam   12 Dec 1982   Section E, p. 2.
Los Angeles Times   13 Dec 1982.   
Los Angeles Times   16 Dec 1982   Section VI, p. 1, 4-5.
Los Angeles Times   17 Dec 1982   Section VI, p. 1, 16.
Los Angeles Times   4 Jan 1983   Section VI, p. 1, 3.
Los Angeles Times   2 Apr 1983.   
Los Angeles Times   15 May 1983   p. 6.
New York Times   13 Jul 1982.   
New York Times   17 Dec 1982   Section III, p. 12.
New York Times   19 Dec 1982   Section H, p. 1, 16.
New York Times   19 Jan 1986.   
People   17 Jan 1983   pp. 69-70, 72-73.
Screen International   5 Jun 1982.   
Variety   12 Dec 1979   p. 4, 33.
Variety   9 Sep 1981.   
Variety   16 Mar 1982.   
Variety   26 May 1982.   
Variety   8 Dec 1982   p. 16.
Variety   8 Dec 1982.   

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