Monday, June 30, 2014

Ivan Marx, Bigfoot Hunter


I always caught what I sought after….except Bigfoot.

From the public domain, I watched what is basically a nature documentary from 1976 regarding an adventurer/hunter/photographer obsessively pursuing a Bigfoot after an encounter shook him into action. I am an avid fan of 70s Bigfoot fare, so watching Legend of Bigfoot was a given eventually. I didn’t really have anything here to add that wasn’t covered in my imdb review on Christmas day in 2008, but it was a film that was on my mind. This film plays up the threat of the Bigfoot with how the “animals seems so scared” when it could be nearby. I like how Ivan Marx really emotes in his narration. If he’s mad as hell and can’t take it anymore, you know it (like those damned skeptics criticizing his “evidence”), or frustrated (on wild goose chases that lead to tracks of other animals nowhere near the size of Bigfoot). I think as a nature travelogue, this is right out of old school Mutual of Omaha documented footage of animals of all kinds. As a pure film on Bigfoot, this might not fit the bill for enthusiasts. As a curio from the 70s, regarding what a naturalist spots while trying to find Bigfoot, this might, however, satisfy. The Public Domain has lots of these kinds of finds so the pursuit of something interesting will always either produce results or disappointments. While I’m myself skeptical of his Bigfoot experiences, Ivan Marx, the avid outdoorsman, was never a doubt to me. I think the man knew his shit. I mean, it was kind of hard for me to accept that, despite some setbacks, he would be able to get a couple of experiences with Bigfoot while so many others get one if they are lucky (or as those that were frightened might say, unlucky).

Is the 'Squatch out there?


Oh, while it’s on my mind, there was one particular scene I especially liked this go-around that I failed to mention in my previous review. Ivan is in the woods where he spots a Bigfoot barely visible as the day is fading into the night with a storm brewing. Ivan does comment that he had no gun and no one would know where to find him. I think that is quite a palpable, terrifying moment, a man who has done his share of hunting, admitting that if he was hurt, no one might ever be able to locate him. This certainly would wreak havoc on my psychological state and emotions if in that position. Horror fans are accustomed to the use of a first person camera fumbling maddeningly in the woods, with that degree of hopelessness and terror viewed through a frenetic lens. There’s also the incredible shot of the Tower of Babel Redwoods in California with Ivan and a colleague looking like ants next to human legs while walking past them. You will also notice the familiar (now) shot of the camera pointing upward to the sky with trees encircling the one looking from that angle to emphasize the forest and its ability to seem endless.

There he is!!!



Sunday, June 29, 2014

Poltergeist III
He wants Carol Anne now before she grows up. Youth is a strong life force. Innocence is pure life force. We lose strength as we lose our innocence. You see, innocence is the only gift we’re given in life. All else must be fought for. In that gift is purity. In that purity lies strength.


This is actually my favorite scene. They gave Rubinstein the Razzie just because she returned in this film, not because she does anything different than in the first film. It is easy to kick a woman when the film she’s in stinks up the nostrils with its stench. Another reason I like the scene is how it kind of haunts me in its dialogue about little Carol Anne preyed upon before “she grows up”. I don’t know: knowledge of what happened to O’Rourke just provides something tragic to this line of dialogue.



The abundant use of a fog machine and constant reliance of mirror tricks can only carry you so far if the story is positively worthless. At least, I took the scene above from this and won’t soon forget it. I’m not sure what it is about Heather O’Rourke. Maybe it is because she was only two years older than me and died so young, under circumstances that could have been prevented, that lends such a sense of eerie and holds this presence of sadness over any scene O’Rourke appears in. There’s a simple, small scene where she’s playing on this spelling-word machine. Nothing all that noteworthy or powerful about it, but just a moment in time where she was a child with no sense of an end to mortality. That is what I took from the film. All the nonsense with Kane and those other poltergeists that seem to be his work, moving about this high rise that would have been an ideal candidate for Cronenberg’s Shivers, just did nothing of any consequence that worked a spell quite like O’Rourke’s mere presence during the film. When she’s gone for a long stretch, with the film having to be carried by Skerritt and Allen (both unfortunately trapped in this bad film, unable to escape), it is quite a reminder of her loss to me. O’Rourke’s character’s name, however, never leaves the film…much to my (and many others) chagrin.

December 27, 1975 – February 1, 1988


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The Boogens - Intro

While I must admit that as a monster movie, The Boogens (1981) doesn’t quite measure up (its monsters aren’t particularly menacing ...