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The Legend of Boggy Creek (1972)

A documentary-style drama about the "Fouke Monster", a Bigfoot-type creature that has been sighted in and around Fouke, Arkansas since the 1950s.




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A direct sequel to The Legend of Boggy Creek (1972) documenting similar "Fouke Monster" attacks that occurred after the events depicted in the original movie.

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In 1946, a ranger hunts for a hooded serial killer terrorizing the residents of a small Texas town.

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Following the death of her father in a terrible accident, sweet, yet troubled Jennifer and her friends decide to check out her dad's cabin that's located in the deep woods of Boggy Creek, ... See full summary »

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The true story behind the legend of the Fouke Monster.

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Cast overview, first billed only:
Vern Stierman ...
Narrator (voice)
Chuck Pierce Jr. ...
Jim as Boy
William Stumpp ...
Jim as Adult
Willie E. Smith ...
Lloyd Bowen ...
B.R. Barrington ...
J.E. 'Smokey' Crabtree ...
Himself (as Smokey Crabtree)
Travis Crabtree ...
John P. Hixon ...
John W. Oates ...
Buddy Crabtree ...
James Crabtree
Jeff Crabtree ...
Fred Crabtree
Judy Baltom ...
Mary Beth Searcy
Mary B. Johnson ...
Louise Searcy ...


A documentary-style drama which questions the existence of a monster in an Arkansas swamp. It is really more of a glimpse at lower-class swamp culture from the seventies, though, than a monster flick. Written by Sean Taylor <st52@cornell.edu>

Plot Summary | Add Synopsis


A True Story. See more »


Drama | Horror | Mystery


G | See all certifications »

Parents Guide:





Release Date:

25 August 1972 (USA)  »

Also Known As:

Tracking the Fouke Monster  »

Filming Locations:


Box Office


$100,000 (estimated)

Company Credits

Production Co:

Show detailed on  »

Technical Specs


| (DVD)

Sound Mix:



Aspect Ratio:

2.35 : 1
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Did You Know?


The film was a major success considering its small budget, but the actors had to sue to get paid. After more than three years, the case was settled for $90,000. After attorney's fees, each actor got $1,000. See more »


In the scene where Mr. Turner and the Ford brothers are on the porch shooting at the monster, Turner's flashlight alternates between a regular size flashlight and a large lantern flashlight (the same lantern flashlight the Constable gives them later). See more »


Referenced in Eye of the Beholder with Jim Roberson (2013) See more »


Nobody Sees the Flowers But Me
Words by Earl E. Smith
Music by Jaime Mendoza-Nava
Sung by Jimmy Collins
See more »

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User Reviews

"A page from the Book of Yesterdays..."
29 April 2005 | by (United States) – See all my reviews

One of my earliest and most vivid memories of childhood is of sitting in the Lovejoy Theatre in Buffalo, New York, in late 1972-early 1973 and being scared out of my wits by the TRAILER for this film. When the film opened in late June 1973 my whole family went to see it and it scared the daylights out of all of us.

The opening scenes of the swamp critters frolicking and the subsequent sepulchral cry of the creature remains one of the most primordial images of terror I can imagine.

I absolutely loved this film then and nearly flipped when I found the 1988 VHS release. For the first time in over a decade the family relived the chills we'd experienced and shared stories of how scared we were going to the family cabin in the upstate New York woods after seeing it the first time.

The VHS copy served well and faithfully until the recent DVD release supplanted it with its excellent print quality and cleaned up sound. I can only hope that if there is another DVD release, they will use a widescreen print.

I've read critiques of how bad this film is, and I can't dispute that the pre-credits sequence with the little kid and the general store coots is wretchedly awful, and the voice-over narration is PAINFULLY embarrassing with its "ooh...shudder-shudder" delivery.

However, I am in awe of how disturbing, effective and genuinely scary this film can be -and still be rated G! Yes. This film is rated G and it remains the single most frightening -genuinely frightening - film I've ever seen.

I am particularly impressed at how it creates mood and tension by what it DOESN'T show. The creature is, for the most part, only shown fleetingly in the background, or obscured by foliage, or else in bits and flashes. I applaud the restraint (whether intentional or budgetary) of the director NOT to show the creature full-on in bright light.

THE UNTOLD (aka SASQUATCH) would have been one of the all-time best Bigfoot movies ever if they hadn't included that Gawd-awful face-to-face meeting at the climax (granted that their design of the creature was excellent).

The same superbly photographed trees and bottom-land which draw you into the beauty of nature suddenly take on a sinister mood of isolation a moment later when the creature steps out behind a tree in the distance, or when its cry is heard. Massive kudos to the cinematographer and film editor.

I will also go out on a limb here and admit that I particularly enjoyed the music score in this movie. I emphasize the SCORE and not the lyrics, because the composer did a very creditable job, whereas the lyricist should never had quit his day job writing greeting cards.

The Ballad of Boggy Creek, MINUS the lyrics, is one of the most infectiously hummable tunes I've ever heard and almost qualifies as true Americana, while the Travis Crabtree sequence -again MINUS the lyrics and the Paul Williams wannabe vocal- is effectively scored to conjure the feeling of rustic simplicity and the freedom of backwoods living.

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