A young boy finds a prehistoric bone on an island in a remote lake. The local university sends a professor to investigate, and a small logging crew tangle with the old man who lives in the woods. They are looking for gold, which the hermit believes is protected by the spirit of the lake…
In the half-dozen or so years immediately following the runaway success of Steven Spielberg’s ‘Jaws’ (1975), it seemed that every body of water in the world was inhabited by dangerous and mysterious creatures. Rural Wisconsin was no exception. Regional filmmaker Bill Rebane had already ensured his place in the hallowed halls of cult cinema by sticking carpet samples onto his Volkswagen to create ‘The Giant Spider Invasion’ (1977) and within a few years had graduated to this brew of ancient Native American myth, survival adventure, hidden treasure and frog people.
The ﬁlm mostly unfolds in an extended flashback as a grown up Kelly (Glenn Scherer) explains to his girlfriend (Doreen Moze) why they are spending their vacation in a cabin on the island. So most of what we see involves him as a young boy (Brad Ellington) accompanying his forest ranger father as they helps local boffin (Karen McDiarmid) and her niece (Julie Wheaton) investigate this mysterious fossil. Things turn ugly when the nearby logging crew reveal that their not interested in trees so much as gold, and the local hermit (Jerry Gregoris) express his dissatisfaction with their scheme via the medium of his shotgun. Gregoris is the last descendant of the original Native American tribe who lived in the area and made offerings to the spirits of the lake.
Framing stories are usually a device to paper over the cracks when a ﬁlm has financial issues; a fate which befell Rebane’s first picture, the dreadful ‘Monster A-Go Go’ (1965), which was eventually finished by splatter king Herschel Gordon Lewis. Here, there’s no real other evidence of a troubled production, just the inevitable abundance of chat over action, which is almost guaranteed in the low- budget arena. Most of the cast have very limited other credits; Scherer having a few small roles in higher profile projects such as ‘Cocoon: The Return’ (1988) and Alan Ross going on to write Rebane’s next film, ‘The Demons of Ludlow’ (1983). But, given that, the performances are mostly naturalistic and that helps to get the audience through the 90 minute runtime.
And help is needed, because the real problem here is that the film drags. Rebane conjures little suspense from various cast members wandering about in the woods, and some of the music cues are a little odd. The final reveal is also an underwhelming ‘man in a monster suit’ moment and, although I’ve seen worse, it’s not exactly impressive. The story is half-baked too, with the use of Native American mythology verging on window dressing, but the results are workmanlike if you’re not too critical.
A fairly typical example of the sort of low-budget ﬁller that was a staple of the home video rental market in the early 1980s.