Beefcake

Very entertaining and often funny, this re creation - with selected, astonishing genuine footage - of the AMG he-man 'studio' of the 1950s BEEFCAKE is best seen with a large (gay) crowd in a big cinema. That's how I first saw it and enjoyed the reactions as much as the movie. However the dramatic aspects of BEEFCAKE disappoints or falls short for several reasons: some of the casting is really terrible. Throughout BEEKCAKE, we see genuine footage made in the 50s by Bob Mizer. Parts of the production of these films is dramatized. The actors in these re created scenes are far from physically right. The actor who plays 'Red" has a podgy body, unlike anyone in the real footage, and this is jarring against the photos and film strips screened. Also, one stupid scene with what is supposed to be "Ramon Novarro" with a massive black fake phallus, the old man actor looks like Montgomery Burns from The Simpsons. I cannot fathom the point of having really inappropriate looking actors play parts of well known handsome and athletic men. Even the actor playing Mizer does not look like the real Bob Mizer. BEEFCAKE has some excellent interviews with original AMG talent, especially Joe Dallasandro whose early work is astonishing and humorous. However, the recreated scenes often lurch into territory only seedy gay guys want and it is somewhat alienating from what is basically a fascinating part of Hollywood history. There is actually a good story and better movie unmade (yet) here that is half way successful in this production of BEEFCAKE

This film is about the struggle of gay porn in the 50's USA, in the disguise of "physique magazines". It is based on a book of the same name.

This film cleverly mixes archive footage with new footage shot for the film. The film flows seamlessly between the past and the present. The interviews with the physique models are very insightful. I am particularly impressed by these interviews, and the effort to hunt these men down.

There is a lot of male nudity in the film, and yet it feels fresh and healthy, without a erotic or pornographic feel to it. I also liked the acting, Bob Mizer is portrayed very well in the film. The pleads for understanding and tolerance in the film is also very effective.

The sexual controversy is toned down a lot in the film as compared to the book. In addition, the book has more history in it, while the film strips all of these away. That's my only complaint.

As one of the models states in the interview, if these events are not written down, they will be lost forever. I am hence very glad that this piece of history is transcribed (albeit dramatised) from the book into a film.

Beefcake is a decent 'mock'u-mentary of the life and times of Bob Mizer, founder of the 'Athletic Model Guild' in the early 50s - and precursor to todays muscle mags and also the Playgirl type of magazine. Sure, the storyline is predictable (but, so was 'Titanic') but the characters are all but priceless! And, many of the actors playing the models when young look a lot like the actual models did! This was a great use of stock original footage and 'made to look like' stock original footage. The interviews with the models are priceless, if only for the reality they provide. The acting is spot on, the sets are great and (when viewed in comparison to the original films) quite spot on! One of the other great aspects of the film is the recreation of the AMG original title styles for the credits for this film. All around, a good movie which chronicles the rise and fall of the beginnings of the 'Beefcake' magazine industry!

I was a male physique model in the 60s in LA and this film brought back so many memories of the time. In those days you weren't totally exposed. Yes, I made centerfold! However, in my frontal shots my hand was casually at the right place although my backside was completely in view. I was an actor, new in town and to earn extra cash I modeled for Young Physique Magazine. I never met Bob Mizer although I certainly heard of AMG then. One of the scenes of this film I enjoyed was interviewing such guys as Joe Dallesandro [of Warhol's FLESH and TRASH]. He still has his looks and sense of humor. Almost making fun of himself. I also enjoyed seeing Jim Lassiter, whom I knew, and Russ Warner. The role of Mizer, played by Daniel MacIvor was well played making him human and at times a bit overbearing. Also liked the acting of Josh Peace [Neil] and Jack Griffin . They both seemed natural and not uncomfortable with the nudity. But that mother of Mizer was too much. I still have some of the films of those times, including one with Jim Lassiter. The combination of the documentary look and today's look worked. Hat's off to Thom Fitzgerald the writer/director of this flick. I remember when I had stripped all my clothes off, having a certain feeling of control as others watched me strut my wares. You find yourself in a quiet place of feeling your body being in a state all by itself. It was quite thrilling. The shoot was done on a rooftop in Hollywood. I also remember thinking at the time, of those who were watching the shoot from their neighborhood windows. You could clearly see apartment buildings surounding us. I hope they were saying, "Another star is born".

The makers of this film set a bit of a challenge for themselves. How to make an interesting movie about the world of magazine photography. The subject in this case is one that hasn't been comprehensively covered before: male physique photography. Generally speaking, in 30s the emphasis was on art, in the 40s on fitness, in the 50s on sensuality, and in the 60s on sexuality. The film explores all aspects of this industry by focusing on a few of the top photographers and their models. Surprisingly, not all participants had the same ideas or experiences about their work, nor the same recollections. In fact, these folk seemed to rather enjoy their work, which did emphasize a healthy, fit body. The relationships of the models emerges as congenial and brotherly, and the photographic activity as engaging. As in any "entertainment type industry" there were some over-the-top kibitzing, which in some cases digressed into rather kinky goings on. Still, the makers of this film manage to remain light hearted about most of it, while allowing some top models and fitness stars to share their memories in short commentary episodes.

For those who were not into this area, they could simply not buy the magazines nor be concerned about the whole matter. For those who found this an area of interest, they were free to make their own choices. What caused problems were conflict with the law, which itself may be controversial. These clashes are also presented here in enactments. It was interesting to see Joe D'Allesandro, well remembered from some of Andy Warhol's films, being interviewed--and what a candid, down to earth personality he is.

The fellows, though, come across as having a good time. While it may not be the most ambitious of professions, modeling at least keeps one off the streets -- that is, almost everyone.