The Legend of Bigfoot

Ivan Marx opens by framing the film as the culmination of ten years of fieldwork on Bigfoot. He notes how different cultures name the creature—as the Eskimos call it 'bushman', the Colville Indians 'Sasquatch', and the Hoopa 'Om-mah'—before reiterating that the beast is commonly known as Bigfoot. The tone establishes the scientific curiosity and the mystery at the center of the investigation.

Marx is taken to a land of petrified wood where rock carvings depict creatures with large hands and feet. The carvings tell a cautionary tale of the creature stealing children and prompting a village to abandon itself. The session links the legends to the pursuit of the actual Bigfoot.

Marx finds large tracks in the snow and later encounters a dead bear with similar footprints nearby. He also notices hair between the bear's teeth, which fuels his resolve to track the elusive creature. The combination of tracks and the unusual hair suggests a connection to Bigfoot, prompting a dedicated pursuit.

Tracks appear in mud beside a river, and something seems to move nearby as Marx follows them. A sudden rainstorm washes the tracks away, forcing him to adjust his search. The loss of evidence underscores the elusiveness of the creature.

Marx travels through several states investigating prints but discovers that the tracks are not those of Bigfoot. He confronts the possibility that misidentifications and hoaxes may cloud the evidence. The investigative arc shows the challenge of proving a legendary creature exists.

The filmmaker visits the Oh-mah Bigfoot redwood statue in Northern California, using the encounter to reflect on the cultural footprint of the legend. He continues his search with renewed curiosity after the encounter. The moment ties myth and place together in his narrative.

Marx keeps searching along the Oregon coast, documenting landscapes and any signs of the creature. The journey expands the geographic scope of his quest and deepens the sense of wilderness. The coast serves as another stage for Bigfoot sightings and atmosphere.

To fund his work, Marx takes a job in Washington state to film a Cinnamon bear. While there, he captures footage of Bigfoot walking through a field, a pivotal moment that supports his long-running hypothesis. He remains critical of the scientific reception of his footage.

Marx notes that the scientific community questions his footage, yet the material circulates on lecture circuits for profit. He grapples with the fame and controversy generated by his evidence. The tension highlights the blurred lines between science and showmanship in cryptid research.

The film expands to ecological observations, including injured animals, goats, glaciers, and the Trans-Alaska Pipeline. Marx also visits Yukon Frida, who paints Bigfoot scenes, weaving environmental and artistic perspectives into the mystery. The montage broadens the scope beyond sightings to the world Bigfoot inhabits.

Marx travels beyond the Arctic Circle, filming the Northern Lights while recounting Bigfoot legends. An Eskimo promises a sighting, and later he captures what he calls the 'shining eyes' of the creature. At dawn, he observes Bigfoot vanish behind a rainbow, leaving a lingering sense of wonder.

From a plane, Marx films salmon spawning, geese migrations, caribou, and moose defending territory, then spots a young Bigfoot near a river. He lands, but the creature escapes into the distance, solidifying the creature's elusiveness. The sequence emphasizes Bigfoot's adaptability and secretive nature.

Marx shows footage of hunters and beavers, then captures Bigfoot at another river and a second individual nearby. He notes a strong musky odor, and observes Bigfoot grazing on grass, leading him to conclude the creature may be vegetarian. The sightings deepen the mystery while suggesting behavioral patterns.

The film ends with Marx declaring that he has mapped Bigfoot's migratory and dietary habits. He reaffirms his commitment to continuing the search and documenting more Bigfoot behaviors. The closing statement frames the project as an ongoing, open-ended investigation.