Low-budget. Neon-soaked. Unapologetic. When you look back at the 1980s direct-to-video boom, few titles capture that specific, sweaty, high-energy era quite like the Takin It Off film. It isn’t high art. It was never meant to be. But for people who grew up browsing the dusty back shelves of local video stores, this 1985 release remains a fascinating time capsule of a very specific subgenre of adult-oriented comedy. Honestly, if you try to watch it today expecting a tight narrative or Oscar-worthy acting, you’re missing the point entirely. It’s a relic of a time when "fitness" and "entertainment" were weirdly intertwined in the American psyche.
Let’s get one thing straight right away: this isn’t a single movie in a vacuum. It’s part of a broader movement of "aerobic-sploitation" that hit its peak right when Jane Fonda was making millions on VHS. Directed by Ed Hansen, a man who basically made a career out of these tongue-in-cheek, low-budget spectacles, the film leans heavily into the kitsch factor. It stars Kittie Doswell and Angel Cash, and if those names don’t ring a bell, it’s probably because they existed in a very niche ecosystem of 80s B-movies.
The Weird Intersection of Aerobics and Comedy
The plot is paper-thin. Basically, you’ve got a group of women who are trying to save a gym or participate in a competition—the "save the local hangout" trope was working overtime in 1985. But the Takin It Off film wasn't really about the plot. It was about the spectacle of the 1980s fitness craze mixed with a burlesque sensibility. You have to remember that in 1985, the world was obsessed with spandex. Leg warmers were a legitimate fashion statement. The movie captures that neon-drenched aesthetic with a level of sincerity that feels almost alien today.
People often confuse this film with its sequels or similar titles like Tak'n It to the Limit. That’s understandable. The mid-80s were flooded with these types of films. Ed Hansen and his frequent collaborator, cinematographer Gary Graver (who famously worked with Orson Welles, believe it or not), knew exactly what their audience wanted. They wanted upbeat music, choreographed routines, and a sense of lighthearted rebellion against the more "serious" fitness videos of the time.
It’s easy to dismiss this as just another piece of "cheesecake" cinema. However, film historians like those who contribute to The Psychotronic Video Guide have pointed out that these films represent a unique bridge between the dying grindhouse era and the burgeoning home video market. Before the internet, if you wanted this kind of niche entertainment, you had to find the right shop. The box art was half the sale. The Takin It Off film had that classic, hand-painted or highly saturated photo look that promised a party in a plastic case.
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Why Do We Still Care About a 1985 B-Movie?
Nostalgia is a hell of a drug. But it’s more than that. There’s a specific "lost" quality to 80s independent films. Most of the people involved in these projects weren't looking for fame; they were just working. Angel Cash, for example, has a presence that is quintessentially 80s—energetic, bold, and perfectly suited for the low-res glow of a CRT television.
When you watch the Takin It Off film now, you’re seeing locations in Los Angeles that don’t exist anymore. You’re hearing synth tracks that were likely composed in a weekend. There’s an authenticity to the lack of polish. Nowadays, everything is "content." Everything is polished to a mirror finish. Back then? If the boom mic dipped into the frame for a second, they just kept rolling. It was punk rock in a weird, spandex-clad way.
Critically, the film doesn't hold up under a modern lens of "prestige." But why should it? It belongs to the world of late-night cable and "Adults Only" sections of the rental store. It’s a reminder that cinema has always had a basement. And sometimes, the basement is more interesting than the attic because it’s where all the weird stuff is kept.
The Ed Hansen Legacy
You can't talk about this film without talking about Ed Hansen. The guy was a workhorse. He understood the economics of the "nudie-cutie" and the "sexploitation" genres as they transitioned into the video age. He wasn't trying to be Spielberg. He was trying to ensure the film made its money back in the first three months of rentals.
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He often utilized "real" people—dancers and performers who weren't necessarily trained actors. This gives the Takin It Off film a strange, documentary-like vibe at times. You feel like you're watching a real group of people in a real 1980s gym, even if the situations are staged and the comedy is broad. It’s that intersection of reality and exploitation that makes it a "cult" item today.
Technical Oddities and the VHS Aesthetic
The cinematography in these films is often better than you'd expect. As mentioned, Gary Graver's involvement is a huge "fun fact" for cinephiles. Graver was Orson Welles' go-to guy in his later years. To go from The Other Side of the Wind to the Takin It Off film is a wild career trajectory. But Graver brought a professional eye to the lighting. He knew how to make a low-budget set look like a million bucks—or at least like fifty thousand.
- Color Palette: The film uses a lot of primary colors. Reds, blues, and that iconic 80s pink.
- Soundtrack: It’s all MIDI and early drum machines. It’s the kind of music that gets sampled by vaporwave artists today.
- Editing: Fast. Punchy. It keeps moving because the moment it slows down, the audience might realize how thin the story is.
The grainy texture of the film stock used for these productions is something digital filters try to replicate today. There’s a warmth to it. A "fuzziness." It makes the whole experience feel like a half-remembered dream from a Friday night in 1986.
Distribution and the DVD Resurrection
For a long time, this movie was "lost." Not lost like a silent film from the 1920s, but lost in the sense that no one was bothering to put it on DVD. Then came companies like Vinegar Syndrome or various boutique labels that specialize in "trash" cinema. They realize that there is a massive market for high-definition transfers of low-brow films.
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Seeing the Takin It Off film in 4K or even standard 1080p is a jarring experience. It was never meant to be seen that clearly. You can see the makeup lines. You can see the wear and tear on the gym equipment. But that’s the appeal. It’s like looking at a high-res photo of a prehistoric insect trapped in amber. It’s preserved exactly as it was, flaws and all.
Common Misconceptions
A lot of people think these films were "hardcore." They weren't. They were "softcore" comedies, often rated R or unrated but staying within the bounds of what could be shown on late-night cable like USA Up All Night. They were meant to be titillating, sure, but they were also meant to be funny. The "comedy" often hasn't aged as well as the "aerobics," but it provides a window into what people found funny forty years ago. Spoilers: it involved a lot of pratfalls and double entendres.
Actionable Steps for Cult Film Collectors
If you’re looking to dive into this specific era of film, don’t just stop at one title. The mid-80s "aerobic" subgenre is deep. You’ve got titles like Aerobi-cide (which is a horror version) and Death Spa. It’s a rabbit hole.
- Check the Boutique Labels: Look at sites like Vinegar Syndrome, Severin Films, or Mondo Macabro. They often do limited runs of these films with incredible cover art.
- Vary Your Sources: Don’t just rely on streaming. These films disappear from platforms like Tubi or Prime Video without warning due to licensing issues. Physical media is the only way to ensure you actually "own" a piece of this history.
- Research the Crew: If you like the look of a certain B-movie, look up the cinematographer. You’ll be shocked how many "serious" Hollywood players got their start—or kept their lights on—by working on films like Takin It Off.
- Look for Double Features: Often, these films are sold in multi-packs. It’s the best way to get a sense of the "vibe" of the era.
The Takin It Off film is a piece of pop culture history that doesn't ask for your respect, only your attention for 90 minutes. It’s loud, it’s colorful, and it’s a perfect example of what happened when the fitness craze met the VHS revolution. Whether you're a student of film history or just someone who misses the days of neon spandex, it's worth a look for the aesthetic alone. Just don't expect a deep philosophical message—unless that message is "keep moving and don't take life too seriously."