Is there anyone who hasn’t seen “Pumping Iron”? This 1977 docudrama is celebrated as perhaps the quintessential film about bodybuilding to date.
It played an instrumental role in bringing the culture of bodybuilding into the American mainstream, simultaneously helping Arnold Schwarzenegger ascend to the stature of a movie star and inspiring countless individuals to hit the gym.
“Pumping Iron” chronicles the tales of the 1975 IFBB Mr. Olympia and Mr. Universe competitions held in South Africa (1). Beyond mere competition coverage, it magnifies the intense rivalry between the renowned champion Arnold Schwarzenegger and the underdog Lou Ferrigno.
The film also spotlights several established names in the bodybuilding arena, including Franco Columbu, Serge Nubret, and Ed Corney, while also touching upon Mike Katz’s and Ken Wallers’ campaigns for the Mr. Universe title.
Remarkably captured in just over a hundred days, “Pumping Iron” communicates on multiple levels, transcending the sport of bodybuilding itself.
The documentary features Arnold Schwarzenegger in his prime, articulating his triumph-focused mindset. Lou Ferrigno’s openness echoes the universal journey of overcoming youthful insecurities, while Mike Katz embodies the silent teacher with an indomitable spirit. Their larger-than-life personas contributed greatly to the docudrama’s enduring appeal, marking it as a piece of the Golden Era of bodybuilding.
To understand what made “Pumping Iron” extraordinary, it’s helpful to explore how it impacted the bodybuilding scene both before and after its release.
Bodybuilding Before Pumping Iron
By the time “Pumping Iron” hit screens in 1977, it had already been in the can since 1975. It took filmmakers George Butler, Charles Gaines, Robert Fiore, and Jerome Gary two years to raise the necessary funds for completion and distribution, reflecting bodybuilding’s niche appeal at the time.
Pre-release, most Americans were unacquainted with gyms, and bodybuilders were often regarded as eccentric. While America’s health-consciousness was growing, it largely centered around general well-being rather than bodybuilding. Those knowledgeable about the sport typically didn’t equate it with personal health or weight loss goals.
Moreover, misconceptions about bodybuilding were widespread, with many unfairly associating the sport with deviant behavior, in part due to existing stigmas around homosexuality in numerous states. Joe Weider’s marketing strategies, which included selling bodybuilding magazines to gay communities, did not help dispel these attitudes.
Despite this, weight training was slowly but surely gaining traction.
“Strength Coaching in America,” a comprehensive text by Jan Todd, Terry Todd, and Jason Shurley, illustrates the gradual increase in weight training’s popularity during this era.
Commencing in the 1950s, a growing number of Americans, particularly young men, began to dabble with weightlifting, indicating a disconnect between gym culture and the competitive sphere of bodybuilding.
Bodybuilding as a competitive endeavor was also evolving. The 1965 inauguration of the Mr. Olympia contest by Joe and Ben Weider (2), set to challenge the Mr. America contest managed by the Amateur Athletic Union, signified the inception of the Weider empire, although its future was not immediately secure.
Despite more competitions hinting at rising interest, the sport still faced skepticism.
In 1972, Charles Gaines and George Butler were tasked by Sports Illustrated with covering that year’s Mr. East Coast bodybuilding event. Their infatuation with the sport was clear, and Gaines acknowledged the sport’s perception in America when he wrote:
Competitive bodybuilding has never gained the national recognition or level of interest that its enthusiasts feel it merits. For the majority of Americans, it appears somewhat bizarre—these colossal figures, seemingly ordinary men magnified, parading and straining in scant attire, are as odd to the public as a tattoo is to a birthmark.’.Despite prevailing misunderstandings, Gaines maintained that bodybuilding was an exquisite, earnest, and awe-inspiring pursuit. It captivated him, as well as Butler. Together in 1974, they released Pumping Iron: the Art and Sport of Bodybuilding, highlighting the 1972 Mr. Universe event in Baghdad and the 1973 Mr. Olympia in Brooklyn.
The publication enjoyed impressive sales, remarkably so for a sport largely ignored by the mainstream. This gap in media coverage was not lost on Gaines and Butler. Recognizing an opportunity, they ambitiously set out to create a film based on bodybuilding, an endeavor previously unattempted. The resulting film was, predictably, Pumping Iron.
The Movie
Initially, Pumping Iron aimed to capture more than just high-tier bodybuilding competition. Aware of the general public’s limited understanding of the sport, George Butler and Robert Fiore feared its true essence might be lost on audiences. To bridge this gap, they cast well-known actor Bud Cort—famed for his role in Harold and Maude—to experience and train among titans at Gold’s Gym. However, his journey from bewilderment to physical self-improvement lacked cinematic appeal. Cort and the director both recognized this.
Although Cort’s storyline was ultimately discarded, the time spent filming his training sessions prompted Butler and Fiore to realize that the real life bodybuilders held enough allure on their own, without the need for a movie star’s presence.
Transformed from its original concept, Pumping Iron evolved into a docudrama focused on the fierce competitions of Mr. Olympia and Mr. Universe. The film is rooted in the competitive drive between Arnold Schwarzenegger and Lou Ferrigno for the Olympia title, and the rivalry between Ken Waller and Mike Katz for Mr. Universe.
The documentary’s first segment builds a compelling narrative. Arnold, having secured the Mr. Olympia title five times, is portrayed as an unyielding titan. The audience hears Arnold make bold statements about his dedication, including remarks equating the feeling of a muscle ‘pump’ to euphoria and revealing his decision to miss his father’s funeral in favor of training. In contrast, Ferrigno is depicted as the inexperienced, yet sympathetic, challenger. Initial plans to paint Ferrigno as a villain were thwarted by his personal struggles—his vignettes recounting a childhood marred by a speech impediment and hearing difficulties lent him a touch of innocence against his monumental physique. Arnold’s portrayal skews towards the cunning strategist.
This dichotomy of character is mirrored in the portrayal of Mr. Universe hopefuls: Mike Katz and Ken Waller. Katz, who faced childhood bullying over his appearance and heritage, turned to sports and eventually bodybuilding as a mode of self-affirmation. Meanwhile, Waller is depicted engaging in lighthearted camaraderie. In one controversial scene, Waller is shown apparently sabotaging Katz by hiding his lucky shirt, an act that was a scripted part of the film’s dramatization rather than reality.
Moving towards the climax, the film introduces new faces and memorable moments, such as Arnold’s training sessions with Franco Columbu, a powerhouse in a lighter weight class, showcased performing remarkable feats of strength. One vivid scene depicts Arnold and Ed Corney on a grueling leg day, an inspiration to many; Corney succumbs to exhaustion while Arnold presses on.
The final act unfolds in Pretoria, South Africa, where the competitors engage in psychological warfare. Tensions peak with Katz’s frantic search for his lucky shirt and the concluding body display onstage. Arnold triumphantly claims his sixth Olympia crown, and Waller takes the Universe title.
The film closes with a scene that has become emblematic: Arnold reclining, partaking in a celebratory smoke, encapsulating the triumph and singular culture of bodybuilding. This moment is seen by many as the quintessential conclusion to the greatest bodybuilding film ever made.
Consequences of Creation
Once production ceased, the financial wellspring dried up. The film hung in a state of uncertainty for a solid two-year stretch until an inspired fundraising event was held. It was at the Whitney Museum of American Art in New York that Butler orchestrated a bodybuilding showcase.
This gathering featured bodybuilders as animated statues, striking poses on revolving pedestals. Their exhibition proved fruitful, not only securing the funds needed to finalize the film but also reigniting interest in a project many had relegated to memory. Crowds surged, eager to witness the spectacle. Positive omens seemed to surround the documentary.
The initial ripple effect of “Pumping Iron” was monumental. A dedicated enclave of bodybuilders felt a surge of enthusiasm, but the film also gained traction through unconventional promotional strategies. Jackie Kennedy Onassis played a role in elevating its profile to broader demographics, while press coverage grew, heralding this unique and earnest film.
Arnold Schwarzenegger, already a familiar figure from “Stay Hungry,” mesmerized audiences in “Pumping Iron,” catapulting him to Hollywood prominence. This paved the way for a cascade of acting opportunities. For the bodybuilding community, the film served as a vehicle for articulating their passion and inspired a new wave of interest in the sport.
Cited in the seminal bodybuilding treatise “Little Big Men” (3), by sociologist Alan Klein, the documentary’s influence is palpable. Drawing from interviews with numerous bodybuilders, the text repeatedly highlights the impact “Pumping Iron” had on the discipline. It fostered an introduction for newcomers, offered continual inspiration, and crucially, introduced a specialized bodybuilding lexicon.
This impact is echoed in my all-time favorite bodybuilding memoir, “Muscle: Confessions of an Unlikely Bodybuilder” by Sam Fussell.
Chronicling the transition from a scholarly life to the muscle-demanding world of bodybuilding, the memoir narrates Fussell’s brief foray into the amateur ranks. As recounted in the book, “Pumping Iron” served as both a source of inspiration and a guide.
Ever since the 1980s, echoes of Arnold’s distinctive charm have reverberated through gyms. Imitations of his Austrian lilt and catchphrases about the ‘pump’ or the juvenile nature of milk were commonplace. Beyond mere emulation, Arnold’s promotion of psychological tactics found their way into local gym culture, influencing competition dynamics for the subsequent decade.
The true value of “Pumping Iron” lies in its enduring legacy. Since debuting in 1977, it stands as the quintessential film of bodybuilding. Its successor, “Pumping Iron II: The Women,” though critically acclaimed, didn’t achieve the same commercial success.
Later works, such as the 1988 “Battle for Gold,” failed to make the same cultural impression, and while individual workout videos from icons like Dorian Yates or Ronnie Coleman enjoyed popularity, their appeal was mostly confined to bodybuilding enthusiasts. Of more recent offerings, the “Generation Iron” series has been notable.
Yet, none have surpassed the status of “Pumping Iron.” As inferred from the outset, it was this motion picture that cast bodybuilding into the mainstream limelight, projected Arnold into the realm of cinematic fame, and has incessantly fueled the motivation of fitness aficionados from the 1970s to today.
Film Rate: 9.8/10.
REFERENCES
References
(1) https://en.wikipedia.org/wiki/1975_Mr._Olympia
(2) https://www.oldschoollabs.com/mr-olympia-1965/
(3) https://books.google.mv/books/about/Little_Big_Men.html?id=z-ax2426Kw0C&redir_esc=y
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