The 1974 TV movie The Wrestler, starring Ed Asner, bears little resemblance to the Oscar-nominated, award-winning 2008 film The Wrestler starring Mickey Rourke. The former is not a remake, and, having seen the 1974 version, it’s clear that a remake would be unnecessary. Despite its obscurity, the 1974 The Wrestler is available on Amazon Prime Video. However, its distinctive 70s carnival-style poster has been replaced with a generic masked wrestler image. For fans of old-school territory wrestling—where every region had its own promoter, world champion, and colorful characters—this film is a must-watch.
The 1974 The Wrestler holds a modest 5.1 rating on IMDb, largely due to two factors: Ed Asner’s charm as the gruff boss from The Mary Tyler Moore Show, and the film’s unique collection of territory wrestlers. Fans of these wrestlers likely contributed to the film’s rating. While some may criticize it, it’s far from the sort of film that would earn a place on Mystery Science Theater 3000.
Where the film falters is in its storytelling. It struggles to define its focus, juggling three distinct agendas throughout its runtime.
Initially, as a production funded by Verne Gagne and the AWA, it serves as a showcase for popular territory wrestlers and promoters of the time, including Dusty Rhodes, Dick Murdoch, Dick the Bruiser, The Crusher, Wahoo McDaniel, Superstar Billy Graham, Larry Henning, Vince McMahon Sr., Joe Dusek, Nick Bockwinkel, Hard Boiled Haggerty, Ray Stevens, Don Moraco, Jim Brunzell, Mike Graham, and Eddie Graham. Even a young Ric Flair appears in long shots. Video highlights also feature Pedro Morales and Dory Funk.
Verne Gagne’s vision, however, extends beyond showcasing AWA talent. He presents wrestling as a legitimate sport, countering claims that it is mere theater. The film includes a lengthy and somewhat pedantic speech by Gagne, likening wrestling’s history to that of ancient civilizations and listing past legends like Fritz von Erich, Bruno Sammartino, Danny Hodge, and Frank Gotch. This segment, delivered with the enthusiasm of a pitch for DynaPowder, is arguably the least engaging part of the film, reflecting Gagne’s idealized view of wrestling.
The film’s third agenda introduces a hard-luck mobster love story. Aging champion Mike Bullard (played by Gagne) is considered past his prime by promoters, who want to create a “Super Bowl of Wrestling.” The term “Super Bowl” is later used interchangeably with the event’s name, creating some confusion. Ed Asner plays Frank Bass, a Minneapolis promoter pressured by mobsters and other promoters to find a younger wrestler to challenge Bullard. Billy Taylor (played by wrestler Billy Robinson) is brought in as the challenger. About an hour and seventeen minutes into the film, a love story subplot emerges involving Bass and his secretary, a target of sexual harassment from the wrestlers.
The film’s plot, a mix of these three elements, feels disjointed. There’s even a surreal scene where Odd Job from James Bond shows up as himself to challenge Dusty Rhodes and Dick Murdoch in a bar fight, debating whether karate or wrestling is more dangerous. The movie concludes with a somewhat anticlimactic ending: Gagne faces off against Taylor in the ring, while the Bruiser and the Crusher fend off the mobsters. The final shot is of Gagne’s wrestling boot, stained and pressed against the camera lens, fading to black.
The film leaves several questions unanswered: Will old school or new school prevail? Will the mobsters seek revenge? Will Bass and his secretary’s romance develop? Will the “Super Bowl of Wrestling” ever take place?
In many ways, this film contrasts sharply with Vince McMahon Jr.’s vision. It takes wrestling seriously, acknowledges multiple promotions, and features numerous wrestlers portraying themselves. McMahon’s No Holds Barred, on the other hand, presents wrestling as a TV spectacle with fictionalized elements and a post-apocalyptic tone.
Perhaps McMahon was a fan of this film. Frank Bass’s declaration of “all the way…no holds barred” in his love story with his secretary seems like a nod to McMahon’s own film.
So, if you’re spending time at home and cycling through movies, consider giving this 70s nostalgia trip a chance. While it might not be a favorite, it offers a unique glimpse into the world of territory wrestling and features a roster of legendary wrestlers from the era
