Archive for the Bigfoot! Category

Bill’s Bizarre Bijou visits THE CREATURE FROM BLACK LAKE (1976)

Posted in 1970s Movies, 2013, 70s Horror, Animals Attack, Bigfoot!, Bill's Bizarre Bijou, Drive-in Movies, Swamp Movies, William Carl Articles with tags , , , , , , , on February 28, 2013 by knifefighter

Bill’s Bizarre Bijou

William D. Carl

This week’s feature presentation:


Welcome to Bill’s Bizarre Bijou, where you’ll discover the strangest films ever made.  If there are alien women with too much eye-shadow and miniskirts, if papier-mâché monsters are involved, if your local drive-in insisted this be the last show in their dusk till dawn extravaganza, or if it’s just plain unclassifiable – then I’ve seen it and probably loved it.   Now, I’m here to share these little gems with you, so you too can stare in disbelief at your television with your mouth dangling open.  Trust me, with these flicks, you won’t believe your eyes.

Howco International Pictures was a small, independent film production company that was established in 1951 by Joy Newton Houck, Sr.  Based out of New Orleans, they produced little movies for the Southern Drive-In circuits, usually double features like Lash Larue Westerns or the John Agar wonder THE BRAIN FROM PLANET AROUS (1957).  After releasing everything from Roger Corman to Ed Wood to Ron Ormand movies, they really hit the big time with a giant hit, THE LEGEND OF BOGGY CREEK (1972), which effectively combined documentary footage with the story of a Bigfoot-like creature called the skunk-ape.  The movie made millions and was a hit world-wide.  Hoping to play on the success of that film, Joy Houck, Jr. directed a script by his pal Jim McCullough, Jr. entitled THE CREATURE FROM BLACK LAKE (1976) and created the creepiest Bigfoot movie ever made.

The film begins with Joe Canton and a fellow trapper tranquilly boating through the swamps around Black Lake, checking their traps.  Suddenly, a hairy arm emerges from the water and snatches the buddy from the boat, leaving Joe Canton (played by stalwart Western veteran Jack Elam—ONCE UPON A TIME IN THE WEST, 1968 and RIO LOBO, 1970) screaming for help.  Nobody believes the old drunk except for two cryptozoology students in Chicago who read about the experience in the papers.  The two men take off in their van for Louisiana on a hunt for the monster.  Pahoo (what the hell kind of name is that for a Yankee?) is a Vietnam Vet who jokes about everything, hates chicken with a passion usually reserved for despots, and is played by Dennis Fimple (KING KONG, 1976, the MATT HOUSTON TV series, 1982, and he was Grampa Hugo in HOUSE OF 1000 CORPSES (2003).  Rives is more serious and good-looking and a draft dodger, and he is played by ex-model John David Carson, who appeared in such diverse movies as EMPIRE OF THE ANTS (1977), PRETTY WOMAN (1990), and THE DAY OF THE DOLPHIN (1973).  Together, they encounter a hostile sheriff, who warns them to get out of town, locals who proclaim the creature a myth, a practical joke-playing waitress, and more yokel southern-fired, hee-haw stereotypes than you can shake a Confederate Flag at.

Jack Elam swears he wasn't drunk when he saw THE CREATURE FROM BLACK LAKE,

Joe Canton (Jack Elam) swears he wasn’t drunk when he saw THE CREATURE FROM BLACK LAKE,

Pahoo accidentally finds Joe Canton, but he loses him, but not before Rives encounters a young man named Orville Bridges, played by hawk-nosed screenwriter Jim McCullough, Jr. (the multi-talented guy also wrote and sang the songs for the movie).  Orville informs them he saw the creature when he was a toddler in a car crash that killed his parents.  Now he lives with his grandparents, and he’ll show them around if they don’t talk about Bigfoot.  They go home to a big country dinner.  Grandpa is played by Dub Taylor, from THE WILD BUNCH (1969), BONNIE AND CLYDE (1967), and BACK TO THE FUTURE III (1990).  The old man is a walking advertisement for hick Southern trash, wheezing and making jokes nobody finds amusing.  During dinner, a mule brays loudly, and Pahoo shouts out, “Is that him?  Is that the creature?”  Grandma goes into a PTSD inspired sobbing fit, and Grandpa kicks the two Yankees (who, by the way, both possess southern twangs) to the barn for the evening.  While getting ready for bed, they hear the howling, haunting cry of Bigfoot closer than is comfortable.  They are terrified, but not so much that they don’t pick up two pretty southern belles in the local hamburger joint and invite them to their camp for the evening.

Dennis Fimple, Jim McCullough and John David Carson commiserate in THE CREATURE FROM BLACK LAKE.

Dennis Fimple, Jim McCullough and John David Carson commiserate in THE CREATURE FROM BLACK LAKE.

The girls show up, and they all party a bit, playing over the recording of the Bigfoot cry.  Soon, they discover one of the girls has a father who is the sheriff – the same one who warned the boys out of town on the first day.  He hauls them into jail, where they stay the night with stinky Joe Canton, who is in the tank for getting drunk and chasing the creature with a shotgun.  Instead of heeding the sheriff’s warning, the two boys head for the woods to track the beast, which leads to a night of harrowing horror as the Bigfoot stalks them, separates them, and brutally attacks them.  These scenes are incredibly intense for a PG-rated film, never gory, but always scary and suspenseful.

The acting is good enough – nothing to shout over, but tolerable for this sort of yee-haw Southern horror tale.  Jack Elam chews the scenery with gusto, camping his drunken role up to the tenth degree.  Dennis Fimple and John David Carson make for likable heroes, and their interactions are natural and believable.  The extras and small roles are filled with people who obviously live in the town where this was filmed.  Their non-acting abilities actually lend an air of documentary-like verisimilitude to the proceedings, and the accents are to die for!

THE CREATURE FROM BLACK LAKE benefits most, however, from the wonderful cinematography of Dean Cundy.  Cundy started his career with the exploitation circuit, lensing such films as BLACK SHAMPOO (1976), the amazing THE WITCH WHO CAME FROM THE SEA (1976), HALLOWEEN (1978), WITHOUT WARNING (1980) and ROCK N ROLL HIGH SCHOOL (1979).  He moved on to larger pictures like THE THING (1982), WHO FRAMED ROGER RABBIT? (1988), JURASSIC PARK (1993), APOLLO 13 (1995), and THE HOLIDAY (2006).  THE CREATURE FROM BLACK LAKE is filmed in a gritty, sun-fried style, much like THE TEXAS CHAINSAW MASSACRE (1974), and this lends a feeling of you-are-there realness to the action.  The scenery is beautiful, but never intrusive, and the Bigfoot creature is wisely kept mostly in the shadows, so the movie is about suspense and the threat of violence more than the actual acts of violence.  This may be what makes that final fifteen minutes so disturbing and exciting.  We do care about these two men by this point, and it appears as if we are watching documentary footage of their stalking and possible killing by his monster.  The suspension of disbelief is suspended way up in the sky somewhere, never interfering with our nerve-wracking enjoyment of the movie.

One of the CREATURE's victims floats to the surface.

One of the CREATURE’s victims floats to the surface.

The movie isn’t perfect.  There’s a bit too much of the folksy humor, especially around Dub Taylor’s character, who seems like he should be plucking a banjo and attacking Ned Beatty any second.  It slows down the momentum of suspense in the film and the characters strains credibility as much as he strains his overalls.  Plus, the epilogue of the movie seems tacked on in order to pacify an audience that wanted a happy ending.  After the sheer terror of the previous night, the sun is shining and everything is just hunky-dory.  In the real world, this would have ended very differently.

But why quibble?  On the whole, THE CREATURE FROM BLACK LAKE is a wonderfully spooky Bigfoot movie, possibly the best one out there.  The scares at the end are earned, and the photography is fantastic.

I give THE CREATURE FROM BLACK LAKE three trespassing Yankees out of four.

© Copyright 2013 by William D. Carl


Suburban Grindhouse Memories: NIGHT OF THE DEMON!

Posted in 2011, 80s Horror, Bigfoot!, Campy Movies, Nick Cato Reviews, Suburban Grindhouse Memories, VIOLENCE!, Yetis with tags , , , , , , , on January 27, 2011 by knifefighter

Suburban Grindhouse Memories No. 22:
Who Knew Sasquatch was so MAD?!
By Nick Cato

While listed as being made in 1980, the gory NIGHT OF THE DEMON looks to be a few years older.  I caught this on a double bill (around 1983) with the lame killer-rat film OF UNKNOWN ORIGIN, and while I can hardly remember ORIGIN, NIGHT OF THE DEMON turned out to be a very well done monster-on-the-loose flick.

Faithful readers of this column have heard me mention the Amboy Twin Theatre, one of Staten Island’s finest venues for underage patrons to be admitted to an R-rated film.  OF UNKOWN ORIGIN was a mainstream release, and had a solid TV ad campaign.  But during its second week of release, several theaters in the NY/NJ area decided to add a second feature to it…and I’m glad they did.  I’m still convinced whoever was responsible for this didn’t watch either film; while they’re both “monster” movies, DEMON’s penis-amputating Sasquatch was just slightly more hardcore than ORIGIN’s annoying rat.  And thanks to the money-hungry suburbanites at the Amboy Twin, my sophomore eyes got to see the hairy carnage on the big screen.

An anthropology professor (why do all these bigfoot/yeti films have an anthropology professor?) convinces a bunch of his students to go looking for the source of a rash of recent murders (for a professor, the guy’s a real moron) as the culprit is reported to be a Sasquatch-like creature.  That’s basically the entire story…but what makes NIGHT OF THE DEMON tolerable (and so much fun) are the kill scenes.  The professor tells his posse (around a campfire) some of the stories he’s heard of Sasquatch-related killings, the best being some poor biker who pulls off the road to take a leak.  As he whizzes into a bush, he gets his Johnson yanked off by a strong, hairy arm.  With the exception of the infamous decapitated-head-goes-down-on-woman sequence from ReANIMATOR (1985), I can’t recall a crowd going crazier for a scene…and this was one of the earliest kills in the film.

In an attempt to add a little bit more to the story, our search party finds an old woman who lives isolated in the woods…and they eventually find out she had a baby with the Sasquatch (oh yes folks, this was one of the finest moments in American cinema in my opinion).  While we only get to see the offspring’s head in a quick close-up, he looked an awful lot like one of the title creatures from WAR OF THE GARGANTUAS (1966).

DEMON’s body count puts most slasher films to shame. In one Oscar-worthy sequence, a couple shagging in a van fall victim to the irritated Bigfoot (and why he’s so pissed off is never clearly explained).  There’s also proof that Sasquatch is almost as inventive as SAW’s Jigaw: two female tour guides—walking around with pocket knives—are picked up by the hairy demon who then smashes them together, causing them to stab each other until they’re both a bloody mess.  There’s also an arm amputation, bodies impaled on glass, rocks, and in one of the more memorable scenes, Sasquatch rips some guy’s intestines out and uses them to whip and strangle a room full of coeds.

YES…this is entertainment, folks.

Like any genuine trash film, NIGHT OF THE DEMON is plagued by sub-par acting, inept dialogue, and so many technical errors my friends and I had a hard time keeping up with them (but not to fear…CODE RED DVD has promised a deluxe DVD treatment later this year!  Are you as psyched as I am?  Probably not.  Your loss.).  There are also plenty of boobs flopping around the forest, so perhaps, like your standard human slasher, Sasquatch just doesn’t go for sex on his turf.

Despite its low budget and everything else it has going against it, this film still manages to work.  It entertains more than any other Bigfoot/Yeti film this side of SHRIEK OF THE MUTILATED (1972).  And considering this was the only film directed by James C. Wasson, it’s safe to say he put everything he had into this, so at least give him a big E for effort.

If the sheriff looks familiar to you, you may be one of the six other people who saw him as a detective in the nearly impossible-to-watch MEATCLEAVER MASSACRE (1977).  No?  I didn’t think so…

© Copyright 2011 by Nick Cato

“A college student finds out the hard way that Bigfoot doesn’t like pop-in visits…”