Save the Cat Goes to the Movies (28 page)

Nowhere is the arc of jester-to-king more clearly seen than in director Hal Ashby’s take on Jerzy Kosinski’s tale. Peter Sellers is the sweet-natured cipher whose odd accent of origin defies computer analysis — but to me sounds like Stan Laurel on Halcion
^®
. When we meet Chance the gardener, he is living in isolation — as he has all his life — polishing the car of his employer (despite its flat tire), tending his trees, and viewing a
lot
of TV. Like a visiting alien, he copies the gestures of humanity by watching. And then one day this simple soul is cast into the “real” world.

Because this FT tale is set among the power brokers of Washington DC, the fool’s naiveté and common-man grace give him a miraculous demonstration of power. Suddenly being honest, forthright, and adept at mimicking others allows him to succeed wildly — and we are rooting for him all the way.

The establishment this “Political Fool” pokes fun at is reminiscent of other Washingtonian films but echoes a more ancient political figure, too. Biblical references abound, with a final image that involves our hero walking on water that is best described as Christ-like. But whether godly or so pure of spirit he is simply at one with the universe, this fool has a particularly triumphant secret of success: Speak the truth, serve others without judgment, and embrace every season.

FT Type: Political Fool

FT Cousins:
Mr. Smith Goes to Washington, Meet John Doe, King Ralph, Protocol, Dave, The Distinguished Gentleman, Moon Over Parador, Bulworth, The Princess Diaries, Head of State

BEING THERE

Screenplay by
Jerzy Kosinksi
Based on the novel by
Jerzy Kosinski

Opening Image:
Chance (Peter Sellers) wakes to the ubiquitous television. He gets out of bed mimicking what’s on TV, then moves a houseplant to give it light.

Set-Up:
Peter continues his workday as live-in gardener and handyman. While waiting in the kitchen for the housekeeper, Louise (Ruth Attaway), to bring his lunch, this particular fool appears to be mentally deficient. But something has happened: “The old man” who owns the house has died. Curious, Peter goes upstairs and looks at the body of his benefactor, then sits down on his bed and turns on the TV. It’s a “Sealy Posturepedic Morning” according to the commercial; TV clips will comment on the action in the film throughout, offering ironic counterpoint.

Theme Stated:
When the housekeeper scolds Peter for not seeming to care that his employer has died, she tells him: “That old man is lying up there, dead as hell, and it just don’t make any difference to you.” Peter’s slow awakening to be able to love another will be our theme and Peter’s arc.

Catalyst:
At Minute 12, a pair of self-important attorneys arrive. The unwitting Peter takes the two on a tour, then is informed that he has until noon tomorrow to move out.

Debate:
What is Peter going to do? Having been told he is allowed to wear any of “the old man’s” suits, he grabs a suitcase, packs, and — looking like a high-powered, pinstriped bureaucrat — appears at the door of the only place he’s ever lived, ready to leave.

Break into Two:
At Minute 20, he walks out of the house and is immediately plunged into the hardcore, urban world of Washington DC. Graffiti mars the walls; there’s poverty and anger everywhere; and when one of a gang of street toughs pulls a knife on Peter, the
remote control he brought with him to “change the channel” does nothing. We get a hint of how his “disguise” will work when Peter finds a sick tree near the White House and summons a Mall cop. Peter gets immediate action because of his manner and dress.

B Story:
At Minute 27, while watching himself on TV in a store window, Peter is struck by a limousine owned by Eve Rand (Shirley MacLaine). This begins the “love story” where the theme of the film will be discussed and Peter will learn to care. Mistaking Peter for an upper-class gentleman, Shirley invites him back to the family mansion. When asked his name, Peter coughs while saying “Chance the Gardener” and Shirley thinks he says “Chauncy Gardener.” This accidental name change disguises his identity.

Fun and Games:
We have one logic hurdle: Why would Shirley and her very ill husband, Ben Rand (Melvyn Douglas), let Peter stay with them? We get over that by raising the possibility that Peter could sue for being struck by their limo; to avoid this, they need to be nice to him. Peter’s charm now begins to work on those around him. His dim-witted honesty is mistaken for sage wisdom. This is why we came to see this Fool Triumphant movie: to watch an idiot confused for a genius. The Fun and Games include near misses of his identity leaking out. Only the Insider, Dr. Allenby (Richard Dysart), is suspicious.

Midpoint:
At Hour 1, Peter is introduced to Melvyn’s friend, the US President (Jack Warden). This is a high-powered victory peak/bad-guys-close-in hinge point as pressure begins. The Secret Service opens an investigation of Peter. When the President leaves, and Melvyn retires to bed due to his illness, a clock chimes. This “time clock” tells us Melvyn doesn’t have long; he is dying. A and B stories cross as Shirley takes Peter on a tour of the garden, and the love story between them begins in earnest.

Bad Guys Close In:
When the President quotes Peter on TV, the Doctor decides to investigate on his own. The Secret Service
has found nothing about Peter, but re-doubles its efforts. Now recognized as a member of the inner circle, Peter is invited to be a guest on a late-night talk show. A Secret Service agent goes to the show to collect his fingerprints — but they yield no match. We also see love bloom and Shirley risk her marriage when she is overwhelmed by Peter’s “charisma” and kisses him. Meanwhile, the uptight lawyers who discovered him at the house see Peter on TV and, thinking he might know their secrets, fear for their careers. The fool has outwitted them all, all but one — the Doctor, who now discovers who Chauncy Gardener really is.

All Is Lost:
While Melvyn goes over his stock portfolio in preparation for his death, the Doctor (good Insider that he is) appears to tell him the truth about their houseguest. The end of Peter’s ruse is nigh, but before the Doctor breaks the news, Melvyn confides, “Since he’s been around, the thought of dying has been much easier for me.” The Doctor says nothing.

Dark Night of the Soul:
As Melvyn fades, Shirley and Peter “make love.” (“I like to watch, Eve.”) Waking to learn death is near, they look out at the bleak landscape of trees in winter.

Break into Three:
Melvyn’s dying wish is for Peter to stay with Shirley. “She’s a delicate flower,” he tells Peter. Melvyn dies as Peter watches. Unlike when his benefactor passed away, a tear appears in Peter’s eye. He is changing — and one reason for the change is Shirley. Despite the Doctor confronting Peter, he too is charmed. “I love Eve very much,” Peter tells him. A and B stories cross again, as we get the promise of a new Eden.

Finale:
At Melvyn’s funeral, as his own words are read, his pallbearers talk of Melvyn’s empire being overseen by Peter.

Final Image:
Peter drifts away from the funeral, pauses to right a sapling, then walks out on the water as Melvyn’s last words are recited by the President: “Life is a state of mind.”

There are moments in director Sydney Pollack’s sex-swap comedy when Dustin Hoffman so becomes his female alter ego it’s a little spooky. Beyond “exploring his feminine side,” he’s channeling another being. In a scene early on, Dustin, as out-of-work actor Michael Dorsey, tries on Teri Garr’s clothes in a mirror and
becomes
“Dorothy.” In a glimmer, he is transformed. Then again, disguise is what the “Undercover Fool” story is about, the FT template where costume, false identity, or sex persona is key. Unlike other “man gets dressed up as a woman” comedies, this one stands out. Why?

Because Dorothy is real. And so is the message.

The oft-told tale about this movie is that it was mired in development hell with writer after writer until Larry Gelbart figured out what it was really “about.” Yes, the premise was funny, and it made sense, but it wasn’t until
Tootsie
got her themes straight that the story worked. This is about a guy “who becomes a better man for having been a woman” — and with that as the arc, the pieces, the bits, the jokes, fall into place. It’s a lesson for storytellers with a great hook, but nothing to say: Make sure your story is
about
something. Only God and the WGA Arbitration Committee know who really put Hoffman in heels … but the results are magic.

FT Type: Undercover Fool

FT Cousins:
Some Like It Hot, Trading Places, Soul Man, Working Girl, Victor/Victoria, Mrs. Doubtfire, Miss Congeniality, Big Momma’s House, Connie and Carla, She’s the Man

TOOTSIE

Screenplay by
Larry Gelbart
and
Murray Schisgal
Story by
Don McGuire
and
Larry Gelbart

Opening Image:
Make-up, wig glue, and costumes cover a table as Michael Dorsey (Dustin Hoffman) puts on a fake mustache. In a series of moments, the joy and pain of Dustin’s life as an actor are seen: auditions, teaching, arguing with British directors (join the club). Dustin is talented but difficult.

Theme Stated:
At one point Dustin is told by a casting director: “We’re looking for somebody else.” Who is Dustin? And who does he need to become to “get the part” in art and in life?

Set-Up:
After a day of tryouts and working as a NYC waiter, Dustin and playwright/roommate Jeff Slater (Bill Murray) go home. Bill surprises Dustin with a birthday party, and we “set up” Dustin’s
Six Things That Need Fixing
. He recoils when someone hands him a baby. He scams women at the party to pick them up. He is selfish and insensitive. Stasis = Death.

Catalyst:
Fellow actor Sandy Lester (Teri Garr) is up for a part on a soap opera. In a “Save the Cat” beat, Dustin helps her prepare. We see a flash of “Dorothy,” the character he will become, when he does a line reading. Dustin goes with Teri to the audition. There, he learns an actor on the show got the lead in a play he wanted. He storms out to confront his agent.

Debate:
Why can’t Dustin get a part? Dustin’s agent, George Fields (Sydney Pollack), has had it with his client. He names a list of directors who won’t work with him, despite Dustin’s proclaiming his talent: “I did an evening of vegetables off Broadway. I did an endive salad that knocked the critics on their ass!” Sydney tells him to get therapy. Then adds: “No
one
will hire you.”

Break into Two:
At Minute 20, Dustin walks down the streets of New York dressed as a woman. He gets an audition for the part Teri was up for. Fueled by the desire to raise $8,000 to mount Bill’s play, and cast himself and Teri in it, Dustin is also inspired by his name change, achieved by inverting his own to create “Dorothy Michaels.” At first, director Ron Carlisle (the amazing Dabney Coleman) tells Dorothy she’s too passive. But she turns him when she protests: “Shame on you, you macho shithead!” Nailing the audition, Dorothy is hired.

B Story:
Just after the fool has entered the “upside-down world” of Act Two, Dorothy meets Julie Nichols (Jessica Lange). Their love story will teach Dustin how to behave with women, and supply the missing skills he needs to succeed.

Fun and Games:
Now that Dustin has the part, the ruse must continue. He’s caught trying on Teri’s clothes and to avoid having to explain himself, he sleeps with her. While Dustin thinks his cross-dressing adventure is all about acting, he has entered “Girl World,” forcing him to avoid ogling a nearly naked actress, April Page (Geena Davis) — and dodge “The Tongue,” lecherous John Van Horn (George Gaynes), who finds Dorothy to his liking.

Midpoint:
While rehearsing with Jessica at her home, Dorothy learns the actress is dating Dabney and has a baby. Meanwhile, Dorothy’s TV character becomes a star, a symbol of liberated women. It’s a “false victory” because Dustin is the successful actor he wanted to be, but can’t cash in. He is even invited — as Michael — to an A-list party by his agent, where he sees Jessica. A and B stories cross as he uses a pickup line Jessica had told Dorothy would charm her, but Dustin gets a drink thrown in his face.

Bad Guys Close In:
Dustin is drawn deeper into trouble. He is lying to Teri, fending off George, and trying to hang in long enough to get the money he needs. He goes so far as to accept an invitation from Jessica to spend a weekend at her father’s farm. Lying in bed with
Jessica, as Dorothy, he is privy to her secret thoughts. And holding her baby, he begins to realize what’s missing in his life. It’s exactly what he needs as a man. But when Jessica’s father (Charles Durning) develops a crush on Dorothy, everything starts to unravel.

All Is Lost:
At Dorothy’s urging, Jessica dumps Dabney. Then, as Dorothy, Dustin gets carried away and tries to kiss Jessica. She is horrified and tells Dorothy to let her father down easily. But when Dorothy goes dancing with Charles, he asks “her” to marry him. Later when Dustin gets home, still in drag, he finds “The Tongue” waiting. “I’m an untalented old has-been,” George admits, and we realize Dustin is looking in a mirror: George is the lecherous “nobody” Dustin was on his way to becoming when this adventure began. Dustin gets rid of George as Teri enters. Knowing he can’t tell Teri the whole truth, Dustin admits he loves another.

Dark Night of the Soul:
Dustin visits Sydney: “You’ve got to get me off the show,” he begs. Sydney can’t help. Dustin is stuck.

Break into Three:
News comes that the soap, usually taped, has to be done live. Dustin delivers a gift to Jessica to apologize for making a pass at her; she is confused. As A and B stories cross, Jessica reminds him that Dorothy taught her how to stand up for herself. Now Dustin realizes he has to take his own advice.