JUST LIKE A WOMAN
A film review by James Berardinelli
Copyright 1994 James Berardinelli
Rating (0 to 10): 7.4
Date Released: 8/94 Running Length: 1:42 Rated: No MPAA Rating (Sexual situations, mature themes)
Starring: Adrian Pasdar, Julie Walters, Paul Freeman, Susan Wooldridge, Ian Redford Director: Christopher Monger Producer: Nick Evans Screenplay: Nick Evans based on GERALDINE by Monica Jay Cinematography: Alan Hume Music: Michael Storey Released by the Samuel Goldwyn Company
Most cross-dressing comedies are played for broad laughs. TOOTSIE is an example, as is the recent MRS. DOUBTFIRE. In both cases, transvestism as a plot device is a means to an end--and that end is humor. The sight of Dustin Hoffman or Robin Williams in drag is intended to bring on fits of mirth. JUST LIKE A WOMAN, however, has a different perspective, and while there are chuckles aplenty, they're likely not for the same reasons.
The movie starts out much like a "traditional" romantic comedy. Gerald (Adrian Pasdar) gets thrown out of the house when his wife finds him in possession of womens' underwear that don't belong to her. Looking for a place to live, he settles in a room rented out by Monica (Julie Walters), a forty-something divorcee who needs the extra income. The two are attracted to each other and, for a while, it looks like the "issue" in this relationship is going to be the age difference (she's "old enough to be his mother"). Then, one night, Monica spies a strange woman sneaking up the stairs to Gerald's room. And, although she is jealous at first, she soon learns that the mysterious visitor was none other than Geraldine, Gerald's feminine alter-ego.
JUST LIKE A WOMAN takes great pains to treat the subject of transvestism with a modicum of sensitivity, while avoiding taking a preachy stance. The Gerald/Geraldine transformations are not presented farcically, but with a care to show how important this part of his life is to the main character.
When she learns the truth, Monica's first reaction is hysterical laughter, and the devastating effect this has on Gerald is borne out by his expression. Later, when the two discuss the situation, Monica's first question is "How long?" Then she asks Gerald if he's gay, to which he responds no. He just likes to dress up in women's clothing. Ultimately, Monica doesn't have a problem with this--in fact, once she gets used to it, she starts to enjoy it. (How else can you have a girlfriend and a boyfriend in the same person?)
The comedy is uneven. Some of the most clever bits are the less- obvious ones, such as the use of the song "Devil in Disguise" during one scene, or a double entendre about "dressing" on a salad. On the other hand, there are two sequences--one involving a hypnotist and another occurring during a board meeting--where things get too silly, crossing the line from funny to ridiculous.
Mostly, when JUST LIKE A WOMAN concentrates on the Gerald/Monica relationship, it's on safe ground. However, there's another half to the story. This subplot, which involves backstabbing and in-fighting at Gerald's place of work, takes up a lot of unnecessary time. It isn't particularly engaging, and its ultimate purpose is to afford the opportunity for a disappointing, "crowd-pleasing" ending.
Adrian Pasdar does a credible job, playing Gerald/Geraldine with dignity instead of going over-the-top. In frocks and makeup, he passes quite effectively as a female (and is decidedly less homely than Dorothy in TOOTSIE). In a suit and tie, he bears a resemblance to a young Tony Curtis, perhaps with a dash of Bruce Willis thrown in. Julie Walters is steady and reliable as the strictly female Monica (the only time she gets to cross-dress is in a brief dream sequence).
JUST LIKE A WOMAN isn't really about tolerance, although that comes into it. This was intended as a romantic comedy with a slightly different spin, and in that aim, it is successful. If you ignore the tedious conflict between Gerald and his boss Miles (Paul Freeman), what's left is a droll view of a straight couple who appear, on certain nights, to be lesbians. Unfortunately, the secondary storyline can't be brushed aside easily, given its importance to the finale. The result is a moderate diminution of the movie's more enjoyable aspects.
- James Berardinelli (blake7@cc.bellcore.com)
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