El intruso

As a white Northerner at 15, I had no idea in 1960 of what rude realities awaited me as I hitchhiked through the South that summer. In Birmingham I was thrown into the two worlds of black/white; I was escorted out of the black's bathroom at the bus station, kindly - gently - but firmly. I witnessed prayer-sayers at street corners extolling salvation and gateways leading away from oppression, people coerced to sit in the crowded back of the bus... whites throwing epitaphs at anyone black who happened to pass by... By the time I reached New Orleans, I had had a complete education in racial prejudice and hate. I was stunned.

So forty years later I watched the Intruder. It left me cold and I begin remembering that trip to the South so long ago. Sitting here in my easy chair in South Carolina today, I can say that some things have changed and some things haven't.

The movie, at least from my experience, presents a milieu that is faithfully true of the South in the early '60's. Of course, it descends from that point into the murky depths of the manipulation of fear and hatred within the human spirit. It is a raw, dramatic expose - hard to watch at times. And I can't respect enough that this movie is so cutting edge and so truly represents the attitudes and motivations of folks during those days.

For the adventurer who has a curiosity of how life was in that period, and for the psychology buff who is interested in the roots of human nature, this movie is a must.

dnk

I watched this for free at YouTube. I was expecting cardboard characters and clichés from the mouth of a virtually unknown William Shatner.William Shatner is brilliant. Charleton Heston or Burt Lancaster or Gregory Peck could not have done better.

In a confrontation scene between Shatner and Leo Gordon the tension builds to a magnificent and believable ending. Each actor and actress is wonderful. The local townsfolk come across as the real thing.

This is a movie about racism that does not have a filter. Nothing is corrected to protect the ears of the viewer and listener. Not all white folks are bad or stupid or anything. This was an era. These are the kinds of people we might find dealing with a national issue. Some of the people black and white wanted integration and some were opposed and some were violently opposed.

I don't think there is a more accurate movie about the times represented here. There are bigger budget movies.

This one is too bold for TV. Maybe the internet will bring it back to some top ten lists. Well worth watching.

I wholeheartedly agree with pjmuck's review. The movie does deal with racism. The plot is delivered in a "far from contrived" manner. The movie is believable and makes (not meant to offend) the movie To Kill a Mockingbird's delivery as tame as a Disney short.

What you are not being told is the history behind this movie. It has been released and released under many names including it's original name "I Hate Your Guts" and then "Shame". The reason for this is because the movie is so realistic, it is taboo and is disturbing.

Please note: It's not gory disturbing, it's people disturbing; you can actually believe that a small community of individuals will react as this community does to the suggestions of an outsider, William Shatner.

And the performance from Shatner, my lord!, you will not believe it's William Shatner!

If you are a film buff, buy the DVD, don't even bother renting. The VHS went Out Of Print Quickly, I am not going to miss owning this on DVD. Great viewing!

Also known by the more appropriate title 'I Hate Your Guts', this is probably Corman's best film, and takes its visual, stylistic and thematic cue from the work of Fritz Lang, especially 'Fury'. This may sound like an unintelligent, superficial comparison; sure, they're both lynch-mob films, but how can you compare the rigorous intellectual austerity of the German with the sensationalist populism of Corman? Maybe, and this is a film where Corman repeatedly grabs you by the collar and thumps you in the guts, never letting up on the violence or shock, while Lang would keep a more intense distance; but they both achieve the same ends with different results.

This is Corman's most painstakingly worked-out film, which is why it is so powerful, suggesting, like Lang, a set of mathematical propositions that seem simple but, add up to a theorem that seems to negate mathematical principles of logic, order etc. As in a Lang film, there is no 'hero' to root for - the lead here is a sinister right-winger linked to the KKK who arrives in an archetypal Southern town to stir up race hatred. He is given the conventional Hollywood hero treatment: the opening credits set up his point of view, establishing his way of looking at the world.

But even over these credits, Corman confuses us. At first we think he's a solitary figure, it is him alone we see entering the town and looking at it. Then he comes out with a woman and child, and we assume he's a family man, but that turns out to be wrong too. So, in these opening scenes we are presented with a lead character in the conventional manner, but, unconventionally, we are unable to get a grip on him.

Similarly, in spite of the title and the menacing opening music, Cramer's good manners and charm continue to suggest him as a hero, even though he is trying to stir up racist feeling, especially when compared to the next significant male character, a loud braggart who appears to be raping his nymphomaniac wife. In this first third, there are no sides drawn, we might almost be watching a racist film, such is Cramer's conventional heroic status. He even seems a movie star, with his dark shades and good looks, which Corman plays on ironically in the scenes of demagogary and when his 'fans' protest his jailing.

Like Lang, Corman switches point of view disturbingly and decisively. This opening out of point of view makes clear the issues, and in a way that conventional Hollywood cinema of the time could not conceive. The reason films like this were considered 'B' or exploitation is because they were telling truths that official Hollywood didn't even know existed. How many contemporary Hollywood films were even dealing with these issues, never mind as provocatively and intelligently as this one? When they finally got round to it, it was cosy liberal kramergloop.

There is no flip solution here - the moral centre is a moderate racist who is nearly killed for his growing ethical awareness (the newspaper editor) - other liberals are shown to be almost criminally useless. Corman asks questions with no easy answers - how do you enforce progressive laws? how do you hold back a mob without becoming as reactionary as them? Cramer, influenced by Lenin as much as Hitler, makes his appeals to democracy and freedom, and Corman forces us to admit that he is right, to reconsider what we mean by these concepts. This is a stunning film, full of tense calm giving onto explosions of harrowing violence, with an insight into its roots in sexual neurosis, including a sequence where the KKK come into town like an invading army, a huge cross like a tank turret, ready to be burned; a lynch sequence as shocking as Huck Finn or 'The Ox-bow Incident'.

Along with the unusual, Langian clarity of the monochrome imagery, note the grids on or around Cramer - crossed telegraph wires, the bars of the hotel lobby etc. - culminating in the demand for the accursed rapist behind a grilled window, like a frothing beast; or the childlike immaturity of the racists, whose hatred centres around the school's swing. The frightening 'speech' scene, outside a monumental civic building, in Nuremberg-like lighting, is more potent than anything in 'All the King's Men'.

Roger Corman's "The Intruder" is both fascinating and frustrating to watch. Fascinating because you suddenly realize what a great and promising "serious" film-maker that was living in the young Corman, and frustrating because the movie was so provocative it scared Corman's investors and was such a financial failure that it discouraged the producer/director from ever trying to make a real serious piece of fiction again.

"The Intruder" is so harrowing, frightfully realistic and effective that had it gained the success and attention it deserved Corman today would be up there with names like Norman Jewison, Sidney Lumet, Milos Forman, John Schlesinger and other great film-makers of his generation!

The atmospheric use of real southern locations just adds to the drama, and the racism portrayed by many of the actors feels almost to close to comfort. One final note: Anyone who still considers William Shatner a grade-b actor should also try and get a hold of this film to witness a fine actor in good form.

Watch this if you can, one of the greatest unsung movies of the 1960's!