Most of the classic movie monsters are derived from folklore (the Wolfman), literature (Frankenstein), or a combination of the two (Dracula). Only a very few are original products of Hollywood. Of these latter creatures, one of the most memorable ever to leave its indelible impression upon the popular psyche is the Blob. Let’s face it: the Blob has become part of our popular consciousness, an instantly recognizable pop icon; whether you have not seen the film in years, or never saw it at all, you know what the Blob is – quite an achievement for a monster that has not literary or mythic antecedents.

Generally regarded as a classic among fans of old sci-fi flicks (especially those who first saw the film as children), THE BLOB owes its status to two factors: the presence of star Steve McQueen in his first feature film starring role, and the originality of its truly unique monster. The film itself is an amusing little effort that adheres closely to the reactionary sexual and political themes prevalent in most genre items of its era, as Robin Wood outlined in his essay "The American Nightmare" ("Two teenagers kiss‑enter the Blob"). The established order of American life (represented by parents, police, war veterans, etc.) at first seems to be threatened by hedonistic teenagers who show little respect for authority, but these two opposing groups join forces when faced by the threat of the Blob. By the end of the film, all the teenagers have proven themselves to be good solid American citizens who will probably grow up to be just like the authority figures now in power.

The Blob itself is quite an interesting monstrosity. Devoid of personality and intelligence, it is so primal as to be open to any number of interpretations, but it has one undeniable characteristic: it devours human flesh. In effect, it comes across as a punishment for the sins of the flesh, as in memorable garage scene. Two attendants talk about their plans for the weekend. The one lying beneath a car brags about leaving his wife behind while he goes off for a wild time other leaves to go home to his wife. Of course, it is the one beneath the car who is devoured. And, reinforcing the metaphor, the creature is defeated with cold -- like the proverbial shower.

The human element of the film is the most part not as interesting as Blob itself. There are some good in the story, but much of the dial overstated and melodramatic, serving to fill-in for shots and which could not be visualized. The acting is variable. McQueen and Corseaut come across well, but Keith Almoney (as Corseaut’s younger brother) makes us wish the Blob had devoured him in the first reel.

Also, production values were obviously limited. The film tends to be more effective in its early scenes, when the Blob is small. By the conclusion, when the Blob has grown large enough to engulf a diner, the film is visibly straining to do justice to its concept, holding on reaction shots of actors while the audience is left to imagine what the Blob is doing off‑screen.

Still, flaws notwithstanding, the film is a classic of a kind. Though not a masterpiece, it is one of those movies that somehow accidentally struck a chord that continues to reverberate in the popular consciousness five decades later (aided, of course, by awareness of a big-budget remake in 1988).