Signs of Monster Bash

Welcome to Monster Bash

This was our intro to Monster Bash: the Creature-mobile!

If you're a fan of Abbott and Costello meet Frankenstein, you'll recognize the prop replica that greets Bash-goers at the entrance.

There's something special about watching A & C on 16mm film.

More to come!

We're Doing the Bash!

 



When this posts, we should be on our way to PA's renowned Monster Bash. It'll be our first time there, so I will be very interested to see how it compares and contrasts with G-FEST.

What tipped the scales and motivated us to give it a try is the appearance of Joel Hodgson, creator of Mystery Science Theater 3000, which, around M.O. headquarters, is not only a show to be enjoyed but has become a kind of worldview, at the very least providing us with a shorthand language of references and jokes that must seem pretty peculiar to "outsiders." Anyway, we're going to get his signature and hopefully a photo or two.

Other things we are looking forward to are the appearance of Julie Adams and Ricou Browning of "Creature from the Black Lagoon," a presentation by investigator Stan Gordon, and an Abbott and Costello tribute show. And, oh yeah, an allegedly gigantic dealer's room. We will hopefully post some photos on the fly to let you know how we're doing!

Entering the X-Plus Zone

Well, I've gone and done it. No turning back. I've entered the realm of the X-Plus collector.

I should back up a tiny bit. I've purchased a few X-Plus figures in the past, but mostly of the six-inch variety. Once upon a time I did acquire a loose (out of box) X-Plus Burning Godzilla from my buddy Jason (of Big Fun Columbus these days), and I did obtain a brand new yeti from Half Human at G-FEST, but that was about the extent of it.

So, we found ourselves at one of our favorite comic shops in central Ohio, Packrat Comics in Hilliard, and when what to my wondering eyes should appear, but one X-Plus GMK Godzilla box sitting high upon a shelf. I hemmed and hawed for a while, but finally decided it was time to take the plunge. I'm very glad I did. Not only is the figure incredibly detailed, but the kind folks at Packrat offered him at an extremely reasonable price. As you can see from the photo above, I'm pretty excited to have my favorite G-suit, rendered with such precision, as part of the M.O. museum.

To visit Packrat Comics' website, go here.

G-Fans, G-Friends

A few weeks back we had the pleasure of watching Godzilla on the "Ultrascreen" in Pickerington, Ohio, with kaiju artist and fellow Buckeye state resident Matt Harris. We originally met Matt at G-FEST, only to discover that we live about an hour away from each other. For personal reasons, Matt may not be able to make it to the Windy City this year, so this outing served as a mini-G-FEST, and we were honored to take part in it.

 

 

Here's just one example of Matt's work; his incredible art has graced the cover of G-FAN numerous times. But like almost every Godzilla/tokasatsu fan we've ever met, his personality outshines his great talent, and we're grateful to consider him a friend.

My Podcast Debut

Since this blog was launched, quite a few unique and cool opportunities have come our way. This is the latest. Fellow scribe Seth Breedlove invited me to be a part of the Ancillary Characters Podcast episode 106, which features a round-table discussion of Legendary's "Godzilla." To be candid, I was a little nervous, as this was my first experience in the field of podcastery, but I think things worked out fine. The guys made it really easy, and I had a lot of fun, and I even got to plug G-FEST early in the program.

 

If you'd like to listen, go here.

A True Living Legend

 

Since I was about six years old, I've been familiar with the name Bob Gimlin. This traces back to my voracious reading on the subject matter of Bigfoot. Beginning with Marian T. Place's "On the Track of Bigfoot," I've become fairly well versed in the story and controversy surrounding the "Patterson/Gimlin" film, which shows an apparently female sasquatch walking briskly along Bluff Creek, away from Roger Patterson's documentary camera. Most books tended to focus on Patterson, since he's the one who obtained the footage. For a time, Bob Gimlin was in the background, acknowledged by all as having been there, but assigned a more peripheral role. In recent years that has changed, due in part to the death of Patterson, as well as the Bigfoot community reaching out to Gimlin, especially in the wake of defamatory books and articles.

 All of which is to say that recently we were in the same location as Bob Gimlin, and had the chance to hear him speak about his experience, and shake the man's hand. At age 83, Mr. Gimlin is very friendly, kind, and by his own admission, hard of hearing. But most of all, he strikes me as sincere. It's hard to find the words to describe what it was like to meet someone who, at least in my conception of things, is part of history, or at the very least is part of my history; part of my thought-world and imagination, having read and daydreamed about his experience for almost thirty-five years. The best part? Having listened to his perspective and having looked him in the eye, I think he's telling the truth.

The Year of Godzilla

The latest G-FAN depicts the G we're all waiting to see. It's hard to describe the excitement that's building for Legendary's film. Each day seems to bring a new TV spot or revelation online. Facebook is the locus for such information. Even better, the more that comes to light about the film, the better it looks in every respect, from special effects to acting chops. Memories of the bitter disappointment of 1998 are beginning to fade, and hopes are running high. In my estimation, Gareth Edwards and Legendary are doing everything right. On the G-FEST front, I'm happy to report that the Ifukube concert has been fully funded on Kickstarter and plans are moving forward. We are proud to be backers of this event, which may in fact become a genuine once-in-a-lifetime event. We have also been re-enlisted to organize the G-FEST Kid's Thread; there are some very special surprises in store this year which will include exclusive, limited run souvenirs. Stay Tuned! Speaking of merchandise, a tidal wave of Godzilla-related products is beginning to swell, some of which is related directly to the new movie, and some of which proceeds from the franchise in total. Of great interest to us are the numerous Blu-ray releases that are forthcoming, and, of course, the many toys that have already become available online and in select stores. Sean Linkenback's upcoming poster book will also be a welcome addition to the Monsterland Ohio Library. If you're one of our friends who still checks in here from time to time, I thank you. Chances are we will being seeing you soon. If you're new to MO, feel free to leave a comment. It is a fantastic time to be a proud Godzilla fan. You're invited to join us also on Facebook; just search for Cuyahoga Kaiju Club.

Please Consider Supporting This Kickstarter Effort

UPDATE: Thanks to the generous support of G-Fans from all over the world, the Akira Ifukube concert blew past the fundraising goal of $25,000, and will be held this summer at G-FEST, reportedly at the Pickwick Theater in Park Ridge, Illinois.

G-FEST Blast from the Past

 

Akira Takarada, Toho Icon and 'Classmate of Godzilla'

Book Review: "Atomic Drive-In"

 

 

 

Long-time G-FAN and Scary Monsters contributor Mike Bogue has released an impressive collection of short stories entitled "Atomic Drive-In." The title story is the longest entry, falling into the 'novella' category, and tells the tale of two friends who are transported through time to a parallel earth that has been ravaged by atomic war. Fans of 1950's science fiction will get a charge out of both the direct and subtle references made to films and characters from the genre. "Atomic Drive-In" is more than just an exercise in nostalgia, however. A number of surprisingly deep themes are explored, suggesting that whether your challenges are personal or apocalyptic, it is always possible to make a heroic choice.

 

 Bogue's command of the short story form is evident throughout this collection, and he has a gift for creating compelling characters, some of whom are appealingly unapologetic monster movie fans. G-FAN collectors may recognize "Going Back," a poignant tale of love and loss that appeared in issue 58. Also reprinted from the book "Daikaiju 3: Giant Monsters vs. The World" is "A Calculated Sacrifice," a nightmare vision of angry kaiju gods ruling modern-day Japan. Three other stories are included, one of which, "Mrs. Finney's Special Vine," is particularly evocative in its depiction of a friendship in its final days. This is science fiction with soul, and I give it my highest recommendation.

 

To pick up a copy of "Atomic Drive-In," go here.

 



Happy New Year!

 

2014 is here, and there is much excitement in the Godzilla fan community over the leaks and updates surrounding Legendary's film, which hits theaters in a mere four months and nine days.

 

One hopes that there will be a wave of merchandise and kaiju-related products that will hit the market, in similar fashion to the wave that accompanied Tristar's Godzilla. Some photographs have surfaced online of apparently official prototypes, but they may reflect works in progress as opposed to finished products.

 

We had a good Christmas here at Monsterland Ohio. The kaiju highlight is pictured above. We presented Grampy with his own framed picture of Godzilla 2000, signed by this past year's G-FEST guests. I received the Johnny Sokko DVD box set and Andy was given a number of issues of Marvel Comics' Godzilla series, including the first. We also supplemented our Marvel Masterworks' "Tales to Astonish" collection, which we sort of "backed into" via the G-FEST Dealers Room last year.

 

Speaking of which, we have made our registrations for G-FEST XXI. No word on guests or movies yet. After a one-year hiatus my folks will be joining us again, so there is much to anticipate.

 

The Year of Godzilla is here! Hope yours is happy and fulfilling.

Official Legendary Godzilla Teaser Trailer Released

Retro Reprint: The Legend of Boggy Creek

This article first appeared in Martin Arlt's fanzine "Mad Scientist" #22, which is now sold out. Inspired by the season premiere of Finding Bigfoot, I have reproduced my salute to Boggy Creek here.

On the Track of the Ultimate Bigfoot Movie:

“The Legend of Boggy Creek”

 

 

             Bigfoot and I go way back. I owe my introduction to the hairy hominid to Sid and Marty Krofft, whose “Krofft Supershow” (1976) featured fifteen-minute episodes of “Bigfoot and Wildboy.” Needless to say, my four-year-old self envied Wildboy’s friendship with the big biped, and the show inspired many imaginary adventures played out in the wilderness of my basement. The same year saw Steve Austin tangling with Bigfoot (as played by both wrestler Andre the Giant and actor Ted Cassidy) on “The Six Million Dollar Man.” Sasquatch ruled the small screen in 1976, much to my delight.

            Over the next couple of years, I could not help but dig deeper into Bigfoot lore, and since my research took place during the “Bigfoot Boom” of the 1970s, my local library yielded no shortage of Sasquatchiana. Marian T. Place’s “On the Track of Bigfoot” became my primary text. While comprehensive and readable, it gave the distinct impression that Bigfoot was exclusively ensconced in the Pacific Northwest. It wasn’t until I got my hands on works such as Elwood Baumann’s “Monsters of North America” and Place’s subsequent “Bigfoot All Over the Country” that I learned that reports of giant man-apes were far more widespread than I had been led to believe. What is more, Baumann’s book devoted three whole chapters to a series of sightings in Fouke, Arkansas—sightings that had evidently inspired an honest-to-goodness Bigfoot docudrama called “The Legend of Boggy Creek,” made in 1972. It became a fervent hope of mine to see this movie, although the chances of catching it on television seemed about as good as seeing a seven-foot-tall hairy primate in my own backyard.

            For years, Baumann’s description of “The Legend of Boggy Creek” fired my imagination, and I had come to accept that the images it produced in the theater of my mind would probably have to suffice. My hopes for seeing the film would rise, however, whenever it was mentioned in books such as Janet and Colin Bord’s “The Bigfoot Casebook”—at the very least, I could take comfort in knowing the movie really existed, and that someone, somewhere had seen it.

            And then one day, in my early teens, it appeared. There, in the television listings, which I habitually scoured for monsters of all persuasions, was the title: “The Legend of Boggy Creek.” It was scheduled to run far too late for me to stay up and watch, but fortunately, my family had purchased our first Video Cassette Recorder. With the precision of a surgeon I set the timer, double-checking my work, and then it was done--all I could do was wait and hope.

            The next morning I rewound the tape, took a deep breath, and pushed play. These orange words appeared against a plain black background: “THIS IS A TRUE STORY. Some of the people in this motion picture portray themselves—in many cases on actual locations.” After years of waiting, the legendary Bigfoot was in my possession.

            When I finally had the long-awaited pleasure of watching “The Legend of Boggy Creek,” I was not disappointed—if anything, it was more absorbing than I had hoped. Moreover, it felt plausible, and some of the vignettes were genuinely unnerving, beginning with a sequence in which a young boy runs from the sound of a howling Bigfoot, admitting in voiceover that “I was seven years old when I first heard him scream. It scared me them, and it scares me now.”

            After quickly establishing the geography and general culture of Fouke (which is to say, the Deep South of the early 70s), two eyewitnesses report their experiences on location in a matter-of-fact tone that roots the proceedings in reality. One of the men eerily relates the tale of his two-hundred pound show hogs being carried away—by something—over a barbed wire fence.

            Two re-enactments follow, in which hunters run across the creature ambling through the woods. These scenes avoid sensationalism and give the viewer a sense of what seeing an unknown creature must be like. The costume used for these scenes is effective, in that it is never glimpsed in much detail, and the suit actor moves about naturally, giving the impression of something large and hairy yet not abnormal.

            Next, three women and a baby living in a back-country shack are terrorized by a nighttime visit from the creature. The monster’s appearance is only hinted at, yet the sequence is gripping. It also concludes with a mildly disturbing image of a cat that had been “scared to death” by its close encounter with the cryptid.

            That is followed by an intense segment in which an adolescent hunter brings the hominid to its knees with a couple of rifle shots. The young actor in this segment is convincingly spooked, and the viewer is, too.

            The film offers a slight breather at this point, showing hunting parties and tracking dogs searching in vain for Bigfoot. More unpredictably, a musical montage begins! The plaintive “Ballad of Boggy Creek,” written by Earl E. Smith (and probably sung by Charles B Pierce), is set to shots of both the natural beauty of the Sulphur River bottoms and the lonely Fouke Monster trudging along the creek bed. The lyrics ask:

            “Here the Sulfur River flows, Rising when the storm cloud blows, This is where the creature goes, Lurking in the land he knows. Perhaps he dimly wonders why, Is there no other such as I? To love, to touch before I die, To listen to my lonely cry.”

As one musical interlude ends, another takes its place. This one is dedicated to Travis Crabtree, a teenage trapper and outdoorsman. We learn that Travis, in his forays up and down the river, occasionally visits Herb Jones, a man who lives in seclusion deep in the swamps. Jones, who seems like someone who should know, steadfastly declares that “there ain’t no such thing” as the Fouke Monster.

            Jones’ denial notwithstanding, evidence is presented in the form of large, three-toed footprints, discovered in a bean field. This serves a transition to another recreated sighting. Three young children lead their aunt to the place where they claim they saw “a wild man”—and right on cue, he appears upon their return. It is a simple set-up, made effective by the panicked reaction of the woman, who paradoxically screams “Don’t run!” as the group flees in horror.

            The scene that follows is one of my favorites, because it depicts a staple of Bigfoot sighting lore: the old “road crossing” scenario. It happens quickly—in less than five seconds, the thing has crossed the road and hidden in the woods. This is a situation I had read about and visualized for years, and to see it captured on film was oddly thrilling.

            Another creepy vignette portrays the monster stalking a trailer full of teenage girls. Their fear is palpable as they pull out Daddy’s gun and fumble for bullets on the kitchen floor. When one of the girls musters up the courage to peek out the window, the viewer knows what is coming, yet it is hair-raising all the same.

            The final portion of the movie is its longest set piece; an account of the events experienced by the Ford family as something Big tries to enter their homestead. The most dramatic elements of the real-life Ford encounter (as documented in Baumann’s book) are brought to life, such as a hairy hand reaching in through an open window, and Bobby Ford crashing in through the screen door in an effort to escape the creature’s clutches.

            Unfortunately, this sequence features both the most and least convincing monster appearances in the film. When the shadow of the creature slinks across the porch, and the boards creak under its weight, the effect is chilling. However, when Bobby Ford finally collides with the creature in the front yard, an ill-fitting gorilla mask, complete with loose eyeholes, is easily glimpsed by the viewer, and the spell of suspense is broken. That is the only misstep that the movie makes in portraying the monster, and it is a shame that it takes place during what is effectively the climax of the film.

            “Boggy Creek’s” denouement is a moody shot of a man (the narrator and grown-up version of the boy in the prologue) inspecting an old cabin while reflecting, in voice-over, on the mystery of the Fouke sightings. The viewer almost expects one last shock to occur, but it never does, and the movie seems to coast to a stop, like the funhouse ride it is.

 

            Charles B. Pierce caught lightning in a bottle with “The Legend of Boggy Creek,” managing not only to bring the Fouke Phenomena to light, but also to preserve a snapshot of Southern culture in a way that does not feel exploitative. Whether by design or budgetary necessity, “Boggy Creek” is a study in understatement, which is perhaps a strange thing to say about a Bigfoot movie. What is far stranger is that Pierce would take precisely the opposite approach in filming “Boggy Creek II: And The Legend Continues…” in 1985, employing crude Southern caricature, mild lasciviousness, and much monstrous melodrama. It is a film custom-made for the Mystery Science Theater 3000 treatment, which it received in 2004. (At one point, host Mike Nelson quips, “With a degree in Boggy Creek studies you can pretty much write your own ticket.”) While it makes for a fantastic MST3K episode, “Boggy Creek II” raises questions about Pierce’s true feelings for the subject matter, illustrating that there is a fine line between cult classic and B-movie embarrassment.

            In addition to Pierce’s own ill-conceived “sequel,” “The Legend of Boggy Creek” inspired a wave of Sasquatch cinema, such as 1975’s “The Mysterious Monsters,” a straightforward documentary narrated by Peter Graves; 1976’s “The Creature from Black Lake,” an affable tale featuring the menacing talent of Jack Elam; and 1978’s “Sasquatch: the Legend of Bigfoot,” which seems consciously patterned after “Boggy Creek’s” docudrama structure. Bigfoot stomped his way onto the small screen as well, in the aforementioned “Bigfoot and Wildboy” and “Six Million Dollar Man” series, as well as more sober fare such as the Leonard Nimoy-narrated “In Search Of…” Pierce, who died on March 5, 2010, helped make Bigfoot a household name in the 1970s, and in the process enjoyed modest financial success.

            The peculiar, haunting quality of “The Legend of Boggy Creek” gave some viewers not just a few moments of escapist entertainment, but a calling to pursue. In his book “Bigfoot! The True Story of Apes in America,” renowned cryptozoologist Loren Coleman names no less than ten prominent individuals whose participation in current Bigfoot research is a direct result of seeing the “Boggy Creek” movie. One of those named by Coleman is Chester Moore, Jr., the author of “Bigfoot South.” His comments are fairly typical of those whom Coleman profiles: “Seeing “The Legend of Boggy Creek” lit my interest in the Bigfoot phenomenon into a full-blown passion. While the Pacific Northwest seemed a world away to me, Arkansas did not…The impact it had on me as a youngster was immense.”

            Moore’s statement helps explain “Boggy Creek’s” enduring appeal. The picture suggests, especially to younger viewers, that deep mystery might lurk closer to home than anyone expects. While hardly told from a skeptical viewpoint, the film is earnest in its presentation of regular people grappling with inexplicable events, with the documentary style heightening the sense of “extreme possibility.” Pierce’s film is nothing less than a great American campfire story: scary, fun, and just believable enough to make you reconsider your next woodland hike. My hunt for this elusive quarry was well worth it.

 

Bibliography

 

Bauman, Elwood (1978). Monsters of North America. Xerox Education Publications. U.S.A.

 

Bord, Janet and Colin (1982). The Bigfoot Casebook. Stackpole Books. Harrisburg, PA.

 

Coleman, Loren (2003). Bigfoot! The True Story of Apes in America. Paraview Pocket Books. New York, NY.

 

Place, Marian T (1974). On the Track of Bigfoot. Dodd, Mead & Company. New York, NY.

Finding Bigfoot on November 10th

Ranae Holland and Andy at Deerasic Park

Excitement and loud howling fills the air as we get ready for the season premiere of Animal Planet's unlikely success story, Finding Bigfoot, which airs Sunday, November 10th at 10 p.m. Readers of this blog are well aware that we had the pleasure of being part of the taping of an episode at Deerasic Park, just outside of the main entrance to Salt Fork State Park.

Animal Planet has been showing repeats of the show in preparation for the season premiere. Some of them are done in the entertaining "Further Evidence" format, which is reminiscent of VH1's "Pop-Up Video," for those of you who remember such things.

We wish Ranae, Cliff, Matt and Bobo all the luck in the world as they continue their quest!