Below the movie’s title was a tagline that, like the poster, was simple but made it truly chilling.
A true story.
I hadn’t thought of the movie in years and years, but, The Legend Of Boggy Creek bobbed to the surface of the subconscious a couple weeks ago. It would seem from perusing the internet that the nearly forty-year old flick has maintained a prescence in the psyche of a lot of people – especially those that were kids – in the early ’70s.
It apparently did most of its business at drive-ins, but it hit our small town’s theater in late summer of ’74. I was six and the movie, despite being G-rated, was declared forbidden the first time my mom saw a commercial for it.
But there was most definitely a buzz surrounding The Legend Of Boggy Creek. The movie purported to tell the tale of a Sasquatch-type creature living in the forests and swamps of a speck of a town in the southwesternmost part of Arkansas.
Filmed for nothing and featuring locals and not actors, the movie was shot primarily as a documentary, making it a precursor to and an apparent inspiration for The Blair Witch Project twenty-five years later.
The commercial echoed the poster’s eerie vibe with a camera panning through remote, isolated swamp terrain before ending with a shot of dense, ominous woods at dusk and an unholy howl as the voiceover offered the stark reminder that the legend was truth.
It was simple and effective, especially as, at the time, we were living in an apartment complex that backed up to a wooded area. That commercial would air as we’d be watching television in the evening and I’d stare out the glass door to the patio, out into the darkness of those trees and wonder what might be out there.
By the following summer, we had moved to a subdivision on the outskirts of town where the slight outpost of civilization that was our town gave way to vast stretches of farmland. There were wooded areas in all directions broken by expanses of fields.
Those woods were a playground for me and my childhood friends, but, as a kid, when the summer faded and the chill of autumn arrived, those woods would also become a far more spooky setting, especially with dusk coming earlier each evening.
There was nothing in those woods more threatening than deer, but they were mysterious nonetheless and the idea that there might be something out there in the thick trees had been planted in my young mind.
I couldn’t help but stare out my bedroom window, across the fields, and to the treeline on the horizon and wonder…
I finally watched The Legend Of Boggy Creek last week and it is most definitely a mixed bag.
However, the first ten minutes are as creepy as advertised and made more so by the schizophrenic music that accompanies the camera gliding through ominous swamplands and open fields as a young boy – about the age I would have been at the time – hears the creature’s scream.
I wasn’t much into music in the autumn of ’74 as I was focused on what might or might not be lurking in the woods. Here are four songs that were on Billboard magazine’s charts that September…
Eric Clapton – I Shot The Sheriff
from Time Pieces: Best Of Eric Clapton (1982)
I can’t say that I’ve ever been devotee of “Slowhand.” Oh, I admire his skills and understand his place in rock history, but there’s just something that never completely resonated with me. Perhaps it’s because when my interest in music was taking root in the early ’80s, Clapton wasn’t exactly at the height of his powers.
However, Clapton’s take on Bob Marley’s I Shot The Sheriff not only became the guitarist’s biggest hit, it also brought the music of the reggae superstar to a new audience.
Stevie Wonder – You Haven’t Done Nothin’
from Fulfillingness’ First Finale (1974)
The funky You Haven’t Done Nothin’ – with The Jackson 5 providing backup vocals – took the political powers at the time to task and managed to reward Stevie Wonder with yet another hit song during his remarkably prolific ’70s output.
Ten years later, he was calling just to say he loved us.
Gordon Lightfoot – Carefree Highway
from Sundown (1974)
I like The Lightfoot (as I’ve noted before).
Brian Eno – Baby’s On Fire
from Here Come The Warm Jets (1974)
OK, Baby’s On Fire wasn’t a hit, but, in September ’74, Brian Eno’s first solo album since parting company with Roxy Music was on the album charts (albeit in the lower reaches of the Top 200). Despite limited commercial success for his own work, few musicians over the past forty years have been as influential as Eno has been as an artist, collaborator, and producer.
I would be in college before hearing Roxy Music or Eno’s solo work. It was my buddy Streuss who threw on Here Come The Warm Jets one day and the album blew me away. It was twelve years old at the time and sounded as though it could have been released twelve years in the future.
(and King Crimson guitarist Robert Fripp’s solo is, in a word, wicked)