{"id":10164,"date":"2011-04-10T17:47:47","date_gmt":"2011-04-10T06:47:47","guid":{"rendered":"http:\/\/roberthood.net\/blog\/?p=10164"},"modified":"2014-11-08T18:05:30","modified_gmt":"2014-11-08T07:05:30","slug":"blobs-swamp-muck-and-amorphous-things-that-go-splat-in-the-night","status":"publish","type":"post","link":"https:\/\/roberthood.net\/blog\/index.php\/2011\/04\/10\/blobs-swamp-muck-and-amorphous-things-that-go-splat-in-the-night\/","title":{"rendered":"Blobs, Swamp Muck and Amorphous Things That Go Splat! in the Night"},"content":{"rendered":"

An Essay on a Globular Sub-genre by Robert Hood<\/strong><\/p>\n

Given that violation of physical norms (being giant-sized, three-headed, lizard-scaled, part-snake\/bat\/bear\/lion\/dragon\/Bobo-the-Clown, you name it) is one of the defining attributes of a monster, it\u2019s not surprising that some of the most memorable of the clan are, in fact, of indeterminate shape. Amorphous horrors and all that. Things that go \u201cSplat!\u201d in the night.<\/p>\n

The Blob? Everyone knows of the big strawberry-jelly mass of space gunk that reacts badly when poked with a stick, likes to scare cinema patrons by oozing through the screen in the middle of the movie and has a penchant for eating out at the local diner.<\/p>\n

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The Blob<\/em> (US-1958; dir. Irvin S. Yeaworth Jr.) mightn\u2019t be a great film artistically, but many of its moments have achieved cult status and it is certainly charming in its own clean-cut \u201850s way. In the opinion of many, Chuck Russell\u2019s 1988 remake is a much better film, with good SFX, effective characters, a decent script and dramaturgically competent storytelling, while retaining (plus updating and broadening) the themes of youth rebellion and generational trust. Changing the origin of the Blob from outer-space-entity-on-the-loose to product-of-a-Government-scientific-miscalculation-and-attendant-conspiracy is very 1990s, reflecting a general cynicism that what we really have to fear might originate right here on our doorstep rather than out in the universe somewhere. Needless to say, The Blob<\/em> (1988) hasn\u2019t garnered the same level of affection as Steve McQueen\u2019s star vehicle with its rather innocent air of \u201850s kitsch.<\/p>\n

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The original Blob even spawned an official offspring. In 1972, Larry Hagman (of I Dream of Jeanie<\/em> and Dallas<\/em> fame) directed a sequel\/reboot of The Blob<\/em> called Beware! The Blob<\/em> (aka Son of the Blob). It\u2019s more comedy than horror and isn\u2019t considered a classic, as cheekily eccentric as it may be. What it does best is reflect the sort of sardonic humour that Hagman was good at.<\/p>\n

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Godfrey Cambridge gets consumed while watching the 1959 film on TV <\/span>
\n… and never gets to see the ending.<\/span><\/h5>\n

The ’50s was the Age of Blobs. Coincidentally, June 1958 (a few months before The Blob<\/em> premiered in the US) saw the release in Japan of another \u201cBlob\u201d-like movie \u2013 this one by Gojira<\/em> director Ishir\u00f4 Honda. Its real title is the poetically evocative Bijo to Ekitainingen<\/em> (lit. Beauty and the Liquid People), but is best known as The H-Man<\/em>. Nuclear tests in the Pacific create mutations that ooze about like radioactive slime and dissolve human flesh and bone. The movie is a crime flick as well as a monster picture \u2013 a particular cross-genre hybrid that appealed to the Japanese film-going public in this period and worked oddly well in practice. At any rate, though not well-known, The H-Man<\/em> is an interesting take that is definitely worth your time, featuring some excellent and atmospheric horror sequences, in particular one set on a ghostly ship adrift at sea during a fog-bound night.<\/p>\n

A more famous muck monster \u2014 one made out of a mass of animated pollution \u2014 is Hedorah, better known as the Smog Monster.<\/em> In the history of Godzilla films, Gojira tai Hedora<\/em> (1971; dir. Yoshimitsu Banno) [aka Godzilla vs. the Smog Monster] is the really<\/em> weird one and it tends to be very divisive. The spectacle of seeing Godzilla fly through the air, tail tucked under his body and using his fire breath as a means of rocket propulsion, sends some fans into paroxysms of scorn. Yet I\u2019ve always thought it fits into this particular movie quite well, given its theme of pollution and its hallucinatory imagery. In this particular G world, where smog can come alive and turn into a giant monster \u2014 and where Godzilla movies can have weird cartoon inserts and hippies hang about on Mt Fuji singing and dancing and generally getting stoned while the world burns \u2014 it seems entirely appropriate that Godzie could use his fire breath to propel himself through the air. This is Godzilla seen through a chemical haze \u2014 drugs being another form of pollution, after all. What with the nightclub scene where patrons turn into fish-headed monsters under the influence of alcohol and\/or drugs (as in Fear and Loathing in Los Vegas<\/em>) \u2014 or the scene where Hedorah sucks ecstatically on a smoking chimney as though it\u2019s a bong \u2014 interpreting the blatant surrealism of Smog Monster<\/em> as some sort of drug-induced supra-reality seems entirely appropriate!<\/p>\n

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Blob monsters were rather popular in the creature-feature comics of this period, whether or not they were \u201cinspired\u201d by The Blob<\/em>. One that comes to mind is \u201cThe Glop\u201d [or “Glob” in some reprints], in a story from Journey into Mystery<\/em> Vol. 1 #72 (September 1961). \u201cThe Glop\u201d features a dripping humanoid mass that \u201clives!\u201d after an artist is hired to go to Transylvania to paint a monstrous statue using mystic, life-giving paint \u2014 something he hadn\u2019t known when he started.<\/p>\n

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Another is \u201cTaboo! The Thing from Murky Swamp\u201d from Strange Tales<\/em> #75 (June 1960). Taboo is an alien muck monster, which, though destroyed at the end of the story, returned bigger and ever more adjectivally inexorable a few months later (in Strange Tales<\/em> #77, October 1960).<\/p>\n

\"\"<\/a>Amorphous monsters like these soon became part of the pantheon of monstrous villains that superheroes had to contend with, once the superhero genre took over in comics. For example, in 1969 Bruce Banner\/the Hulk was forced to battle a murky sludge creature known as the Glob in The Incredible Hulk<\/em> #121. The Glob makes several subsequent appearances in the Marvel universe. Coincidentally (or not), when The Blob<\/em> film began production in 1958, it was being called \u201cThe Glob [That Girdled the World]\u201d.<\/p>\n

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A shapeshifting creature made of sand called The Sandman first appeared in Journey to Mystery<\/em> Vol. 1, #70 (July 1961). Though an alien here, he proved to be a prototype of William Baker (aka The Sandman) from The Amazing Spider-Man<\/em> #4 (Sept 1963), who accidentally acquires the ability to shapeshift via his sandy nature and uses this ability to harass our friendly neighbourhood webslinger. The Sandman appeared in Sam Raimi\u2019s live-action movie Spider-Man 3<\/em> in 2007, rendered via spectacular CGI.<\/p>\n

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Swamps are a fertile breeding ground for amorphous monsters, as witness Taboo\u2019s tagline: \u201cThe Thing from Murky Swamp\u201d. The most famous comicbook swamp monster \u2014 either a man integrated with a mass of swamp debris following his \u201cmurder\u201d or an elemental spirit, depending on which incarnation you\u2019re reading \u2014 is\u00a0 probably DC Comics\u2019 Swamp Thing<\/em>. Swamp Thing featured in several comic series, two live-action films, a live-action TV series (directed by Tom Blomquist and Chuck Bowman) and an animated TV series. He also crops up briefly in the superlative animated series Justice League Unlimited<\/em>. The first live-action Swamp Thing<\/em> film was directed by Wes Craven in 1982 and though uncharacteristic of Craven\u2019s most famous work, proved reasonably successful. The Return of Swamp Thing<\/em> (US-1989; dir. Jim Wynorski) followed, but wasn\u2019t so well received — with good reason. Swamp Thing<\/em> is very much a \u201cmonster-as-hero\u201d story, as the title character rises from the swamp to seek revenge on those who murdered him, but ends up pursuing a life of sometimes conflicted do-goodery.<\/p>\n

\"\"<\/a>Marvel\u2019s Man-Thing<\/em> series was very similar (at first), with a similar back-story involving swampy death and murky revenge, though the monster-hero is generally less sentient. The character originated in Savage Tales<\/em> #1 (May 1971) \u2014 several months before DC\u2019s Swamp Thing<\/em> appeared (in House of Secrets<\/em> #92, July 1971). There were murmurings of legal action (especially as the two creators were room-mates at the time), but it all came to nothing \u2014 and the two Things diverged considerably in tone and storyline as time went by. There has only been one film version of Man-Thing<\/em>, a made-for-TV movie directed by Brett Leonard (2005). Much to the chagrin of fans of Marvel comic writer Steve Gerber\u2019s surreal and rather tongue-in-cheek rendition of Man-Thing (which teams the tangle of swamp debris with Howard the Duck at one point), Leonard\u2019s film is more a standard B-film creature feature, though it actually runs fairly close to the monster\u2019s original appearances in comic format. If you can live with that, Man-Thing<\/em> is an okay monster film, lurking somewhere midstream in the swampland hierarchy of Hollywood genre filmmaking.<\/p>\n

\"\"<\/a>The low-budget Swamp Devil<\/em> (Canada-2008; dir. David Winning), on the other hand, is somewhat mired in a stagnant backwater of that particular tributary. It works a very similar scenario to those of Marvel and DC\u2019s monster-heroes, though the titular beast is pure monster here. At any rate, there\u2019s murder and backwoods secrets and swamp-monster violence involved. Some things never change: murder and swamps don\u2019t mix. They end up spawning vengeful and amorphous masses of swamp debris. I must remember that \u2014 for next time.<\/p>\n

Other types of amorphous monsters abound in the film world, often offering little more that a hive mentality in place of a single focus. The interesting monster of The Bone Snatcher<\/em> (UK\/Canada\/South Africa-2003; dir. Jason Wulfsohn) consists of weird alien ants that swarm around random collections of bones to form into a larger, more coherent creature. In this they are rather like Grey Goo, the nano-machines that we\u2019re often warned about by the scientifically pessimistic and monster-loving writers \u2014 tiny out-of-control robots that eat matter and sometimes form into whatever shape takes their fancy, usually monstrous (see the Justice League Unlimited<\/em> story \u201cDark Heart\u201d and the Gort-spawned nano-machine swarm that erupts across America in the climax of the unfortunate 2008 The<\/em> Day the Earth Stood Still<\/em> remake).<\/p>\n

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Above: The continually morphing nanotech “Dark Heart” <\/span>
\nfrom Justice League Unlimited<\/em><\/span><\/h5>\n

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Above: Gort’s nanobots sweep across America <\/span>
\nin The Day the Earth Stood Still<\/em> remake<\/span><\/h5>\n

But such collective monsters needn\u2019t be so hi-tech. The Ruins<\/em> (US\/Germany\/Aust-2008; dir. Carter Smith) does it rather effectively with virulent, psychic plants. From the psychotic avian menace of Hitchcock\u2019s The Birds<\/em> (1963) through to the mass African bee entity of The Swarm<\/em> (US-1978; dir. Irwin Allen), nature in films has willingly formed itself into an amorphous object of mass terror, inflicting clouds of death and mayhem on humanity for its sins. In The Naked Jungle<\/em> (US-1954; dir. Byron Haskin, based on the story \u201c<\/strong>Leiningen Versus the Ants\u201c<\/strong> by Carl Stephenson), Charlton Heston and Eleanor Parker battle a 20-mile-wide, 20-mile-long column of army ants (see below) \u2014 millions of individual ants subsumed into a mass consciousness. That\u2019s the point here. In these cases the characters are not dealing with lots of individual creatures but a single amorphous monster made up of millions of individual units acting together.<\/p>\n

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And that\u2019s not to forget the totally shapeless monster of the Aussie film Long Weekend<\/em> (Aust-1978; dir. Colin Eggleston) and its 2008 remake, which is simply nature turning en masse<\/em> against the careless vacationers. Talk about The Beast with a Million Eyes<\/em> (1955). You can\u2019t get much more formally indeterminate than that.<\/p>\n