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That Man: Peter Berlin (2005)

Unrated | | Documentary, Biography | 28 April 2005 (USA)
This intimate film reveals the legendary man with the white saran wrapped pants, undersized leather vests, and Dutch-boy haircut who is the iconic Peter Berlin.


Jim Tushinski

On Disc

at Amazon

1 win. See more awards »




Credited cast:
Peter Berlin ... Himself
Armistead Maupin ... Himself - Author
John Waters ... Himself - FIlmmaker
Jack Wrangler Jack Wrangler ... Himself - Adult Film Actor
Daniel Nicoletta Daniel Nicoletta ... Himself - Photographer (as Dan Nicoletta)
Wakefield Poole Wakefield Poole ... Himself - Filmmaker
Robert W. Richards Robert W. Richards ... Himself - Artist
John F. Karr John F. Karr ... Himself - Porn Reviewer
Rick Castro Rick Castro ... Himself - Filmmaker / Photographer
Guy Clark Guy Clark ... Himself - 'The Flower Man' of San Francisco
Lawrence Helman Lawrence Helman ... Himself - Producer / Publicist
Robert Boulanger Robert Boulanger ... Himself - Neighbor and Building Manager
Rest of cast listed alphabetically:
Marc Majors Marc Majors ... Himself - James (Peter's longtime friend) (archive footage)


He slept with Sal Mineo, was photographed by Andy Warhol, and he was lusted after by millions of men around the world. Model, photographer, filmmaker, clothing designer, and porn icon Peter Berlin is his own greatest creation. Berlin is front and center in this bio documentary from director Jim Tushinski, and featuring interviews with director John Waters, novelist Armistead Maupin, 70s porn Director Wakefield Poole and more, all with Berlin as the subject. This intimate film reveals the legendary man with the white saran wrapped pants, undersized leather vests, and Dutch-boy haircut. Written by TrivWhiz

Plot Summary | Add Synopsis


Artist Model Porn Star Legend / He Was His Own Work of Art See more »


Unrated | See all certifications »



USA | Canada


English | French | Spanish | Portuguese | German

Release Date:

28 April 2005 (USA) See more »

Also Known As:

Die Peter Berlin Story See more »


Box Office

Opening Weekend USA:

$9,579, 13 January 2006, Limited Release

Gross USA:

$55,398, 26 February 2006
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs



Black and White (film clips and archive photographs)| Color

Aspect Ratio:

1.33 : 1
See full technical specs »

Did You Know?


The on screen credit for Nights in Black Leather (1973) is subtitled "Ignatio Rutkowski, director," but the credited director for that film is Richard Abel (as Ignatio Rutkowski). See more »


When showing the black and white still photo of young Peter with his parents and brother, the camera pans up and focuses in on Peter's brother, not Peter himself. Peter is actually the boy on the far right of the screen. See more »

Crazy Credits

Excerpts From Nights in Black Leather (1973), That Boy (1974), Blueboys, Ciro and Peter Courtesy Peter Berlin See more »


Features That Boy (1974) See more »


Captain Groovy and His Bubble Gum Army
Published by Super Bubble Music Corp.
A Product of Kasenetz-Katz
Used by permission
See more »

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User Reviews

The Seventies in Microcosm
23 January 2006 | by alanreadeSee all my reviews

Before seeing this movie, you may say to yourself, "Peter Berlin? What's the big deal?" But stay with it, as the story is rewarding. Director Jim Tushinski obviously saw a chance to put the urban gay-lib era of the seventies under a microscope by focusing on one man's story instead of a general documentary--and the man he focused on just happens to be "the" icon of gay sexual life at a certain crossroads. The film's imagery is evocative, the sexuality palpable, and the cameos from Armistead Maupin, Robert W. Richards, and others are witty. But the best moments of this film are during Mr. Berlin's touching recollections about his own life. As Berlin talks candidly about the losses he experienced as the seventies faded into the Reagan years, it's impossible to look away--partly because there are so many men whose experiences are reflected in his story. It's during these revelations that Tushinski knows to keep the camera trained closely on his subject, and these moments are what elevates this film from historical document to riveting cinema.

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