American botanical expedition in the Himalayas stumbles across a Yeti den, capture one and transport it back to Los Angeles, where it escapes while customs officials are debating whether it is animal or human.
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Botanist Frank Parrish leads an expedition to the Himalayas to seek out new flora, accompanied by hardboiled news photographer Peter Wells. When their lead guide, Subra, learns his wife has been kidnapped by a Yeti, Parrish disbelieves him, so the sherpas commandeer the expedition at gunpoint and turn it into a search-and-rescue party. To Parrish's surprise, they discover a whole family of Yetis in a cave, and are able to subdue the male and carry it back to civilization, to ship to the USA for study. Subra is forgiven his acts because he was right after all. Wells, meanwhile, phones in the story and Parrish finds his discovery - shipped upright in a meat cooler to maintain its natural environment - detained in the US because Wells' story refers to it as a snowMAN, and a decision must be made whether this is a customs or immigration matter. During this bureaucratic snafu, the creature escapes its containers and disappears into Los Angeles, mysteriously appearing in different parts of ...Written by
Rich Wannen <RichWannen@worldnet.att.net.>
Director-producer W. Lee Wilder (and his son, the film's screenwriter 'Miles Wilder') deliberately took the name of the police detective, Lt. Dunbar (played by William Phipps) from the name of the prisoner of war played by Don Taylor in the film Stalag 17 (1953), which was written, produced and directed by W. Lee's much more famous brother: Billy Wilder. See more »
Much of the "snow" on the ground and sticking to the expedition's tents is clearly made of wet foam. See more »
Most viewers and reviewers can't think of bad enough things to say about this film, and some of their barbs are justified: the film does take too long to get going, and the title creature (when he finally appears) is not an inspired creation. However, the film does offer certain rewards to patient viewers. The black & white photography is much better than one would expect, particularly the clever use of light and shadow during the film's second half. The use of the soundtrack shows imagination also. Case in point: the scene where the creature pays a late night visit to a cold storage warehouse, and is glimpsed briefly moving between the hanging sides of beef. There's no screaming or loud background music, only faint street sounds. Somehow, the silence of this scene makes it much more unsettling than it would have been otherwise.
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