It depicts women as weak, powerless, banal emotional blobs. Inexplicably, however, these same critics gloss over or reject the film's implicit sexism and the mixed "feminist" message that undercuts itself in deference to the system that produced the picture. TOOTSIE's dialogue seems unrelentingly witty, snappy, and downright hilarious, with filmgoers and critics alike thrilled at Hollywood's "new feminism," its raised consciousness, its preoccupation with important social issues.Īnd that makes the news less good. And it appears that the film represents the consummate group effort: three directors, approximately twenty script rewrites (with such notables as Elaine May and the Barry Levinson/Valerie Curtin team), and Writers' Guild arbitration over who should get screen credit. TOOTSIE is a wildly successful film at the box office. Holdstein JUMP CUTĬopyright Jump Cut: A Review of Contemporary Media, 1983, 2005įirst, the good news.
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