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Johnny LaRue's Crane Shot
Monday, April 17, 2006
Walk Tall And Carry A Big Stick

The cinematic saga of Buford Pusser began in the winter of 1973, when the now-defunct Cinerama Releasing Corporation released WALKING TALL, a crude, simplistic, violent R-rated drama about an ex-Marine and pro wrestler who returned to the Tennessee county of his childhood and single-handedly wiped out organized crime. Joe Don Baker played Pusser, who was elected sheriff of McNairy County after a severe beating by hoodlums left him scarred and near death. WALKING TALL struck a major chord with rural audiences, who turned it into one of the year’s most talked-about and financially successful films. Pusser planned to portray himself in the 1975 sequel, but he was killed in a mysterious auto accident, and 6’6” Bo Svenson was enlisted to play the lawman who “walks tall and carries a big stick” in two movies and a short-lived NBC television series.

WALKING TALL, the series, premiered the same month that Ronald Reagan was inaugurated as the 40th U.S. President, which may have been too soon. The Reagan administration’s black-and-white views on law and order were an influence on dozens of violent, high-octane Hollywood action movies, many of them starring macho men like Arnold Schwarzenegger, Sylvester Stallone and Chuck Norris. But when NBC debuted WALKING TALL on January 17, 1981, audiences were still in the sensitive grip of the Carter era and perhaps weren’t quite prepared for a single-minded law enforcer who eschewed the civil rights of the accused if they stood in the way of what he considered to be justice.

Svenson, a familiar face to TV audiences from schlocky TV-movies like GOLD OF THE AMAZON WOMEN and SNOWBEAST, probably felt right at home with Sheriff Buford Pusser’s badge and “pacifier” (his term for the hefty four-foot club he carried in the back seat of his police car) in hand again. The show’s premise was just like that of the WALKING TALL movies in which Svenson had starred. He again was a widower who lived in McNeal (changed from McNairy) County, Tennessee with his father Carl (Walter Barnes, taking over for Noah Beery and Forrest Tucker), son Michael and daughter Dwana. McNeal was a small rural community where everybody knew everybody else, which didn’t make it as difficult as you would think for some of its citizens to get into trouble with the law and run afoul of Buford’s temper.

NBC scheduled WALKING TALL for 8:00pm Central on Saturday nights. Its CBS rival, the shortlived FREEBIE AND THE BEAN (also an action-oriented spinoff of a successful film), was no competition, but both series were slammed in the ratings by THE LOVE BOAT, which formed a Saturday-night juggernaut with FANTASY ISLAND for several years on ABC. After five episodes, the show was pulled, only to reappear six weeks later at 9:00pm on Tuesdays, where another smash ABC series, HART TO HART, buried it, this time for good. Only seven episodes of WALKING TALL were made, and all of them are available on DVD from Columbia/Tri-Star. Because I believe that no TV series should be forgotten, what follows is a somewhat comprehensive WALKING TALL episode guide. Print it out and keep it next to your remote.

1) “The Killing of McNeal County’s Children”--Directed by Alf Kjellin. Written by Stephen Downing. Stars Robert Englund, Charles McDaniel, Eric Stoltz, Whit Bissell. Pusser investigates when two teenagers become brain-damaged after a few puffs of some powerful new PCP cigarettes. He threatens pusher Bobby Joe Wilson (Englund, later Freddy Krueger in A NIGHTMARE ON ELM STREET) and is nearly killed when Wilson’s home lab explodes, but still fails to stop the ring led by oily businessman Oliver Moss (McDaniel). Even Buford’s environmentally dubious strategy of assaulting Moss’ trucks and dumping their chemical contents onto the highway makes little dent in the drug’s onslaught of the local high school. It gets personal after two classmates (one is played by future star Stoltz) drug Michael Pusser’s drink with angel dust, which leaves him perched on the school roof thinking he can fly.

2) “The Protectors of the People”--Directed by Daniel Haller. Written by Donald R. Boyle. Stars Charles Napier, Jesse Vint, William Windom, William Sanderson, Otis Young, Dey Young. One of WALKING TALL’s advantages is its weekly guest stars. Even if an episode doesn’t happen to be working too well, there’s always an interesting actor or two to keep an eye on. This episode may have the show’s best cast, and Boyle (the show’s executive story editor) gives them an incendiary topic to bite into. McNeal runs afoul of the Ku Klux Klan, mainly in the personage of vile Napier (the great character actor with the toothy grin), sadistic Sanderson (NEWHART) and store owner Vint (FORBIDDEN WORLD). In their repulsive desperation to make the county all-white, they attack a white teenage girl while disguised in blackface and then blow up a store owned by black businessman Otis Young (THE LAST DETAIL). It all gets terribly out of control when Pusser’s black deputy Aaron (Harold Sylvester) is framed for raping a white woman.

3) “Kidnapped”--Directed by John Florea. Written by Paul Savage. Stars Chuck Connors, Edward Albert. This episode could have been written for almost any other TV cop show. Its routine plot by GUNSMOKE veteran Savage has been done many times. Theo Brewster (Connors in a “special cameo appearance”) is shot by a guard during his commission of a bank robbery and taken into custody to Pusser’s jail, where he lies on life support. His sons--also his fellow bank robbers--plot to break him out by taking a local family and Buford’s father hostage.

4) “Hitman”--Directed by Alf Kjellin. Written by Robert E. Swanson. Stars Merlin Olsen, L.Q. Jones. Also not a terribly original concept, but strong direction, particularly during the final act, and good performances make the episode worthwhile. NBC sportscaster and former Los Angeles Ram Olsen, just a few months before starring in his own NBC drama, FATHER MURPHY, is Webb McClain, an old friend of Buford’s who returns to McNeal County to renew their relationship. Unbeknownst to Pusser, however, McClain is an assassin who has been hired by mobster Jones to murder Buford. Svenson and Olsen play the tension perfectly, giving the incredulous idea necessary weight.

5) “Company Town”--Directed by Harvey S. Laidman. Written by Lee Sheldon. Stars Ralph Bellamy, Lane Bradbury, Art Hindle, Claude Earl Jones. Leaving his regular supporting players behind, Pusser travels to a mining town to investigate the disappearance of a miner who had been riling his employers with talk about low wages and unsafe working conditions. Learning of other missing mining workers with similar rabblerousing backgrounds, Buford follows the trail of bodies all the way up to the mine’s owner, James Clausen (Bellamy), and his hot-headed son Stuart (Hindle).

6) “Deadly Impact”--Directed by Alexander Singer. Written by Gregory S. Dinallo. Stars Gail Strickland, Ken Swofford, Richard Herd, James Whitmore Jr. Credit director Singer and guest star Strickland for pulling off a late-in-the-game story twist that provides this episode with an effective dramatic punch. It smells like SILKWOOD when chemical plant employee Strickland suspects her boss of authorizing illegal dumps of toxic wastes into the nearby river. After she’s nearly run off the road, Pusser protects her from further attempts on her life by putting her up with Carl and the kids at his house, where his relationship with her turns from professional to personal.

7) “The Fire Within”--Directed by Phil Bondelli. Written by Lee Sheldon. Stars James MacArthur, Ed Nelson, Lance LeGault, Anthony Edwards, John McLiam, Richard Venture. MacArthur, a veteran of eleven seasons on HAWAII FIVE-0, exchanges his badge for a collar in this “special guest star” role as Father Adair, a new priest who takes the confession of a dying criminal. His vows prevent him from telling Pusser any information about what the man was involved with, namely a gunrunning operation masterminded by McNeal County real-estate agent Ed Campbell (Nelson). Look for future ER star Edwards as a horny teenager.

After WALKING TALL’s quick cancellation, star Svenson continued to rack up an army of television and film credits. Many of them were in exploitation movies such as NIGHT WARNING (in which he played a homophobic cop) and the Italian THUNDER WARRIOR (he also reunited with Charles Napier in the Fred Olen Ray ALIEN-ripoff DEEP SPACE), but his best TV performance of the era was a memorable turn in MAGNUM, P.I.’s third-season premiere as Ivan, a KGB agent who had tortured Thomas Magnum (Tom Selleck) in Vietnam and murdered Magnum’s friend Mac in Hawaii. The final confrontation between Magnum and Ivan was quite a corker and is probably the series’ finest moment. Svenson continues to be a popular supporting actor in low-budget movies and was tapped by Quentin Tarantino to portray a reverend in KILL BILL.

Brian Dennehy also played Buford Pusser in A REAL AMERICAN HERO, a CBS movie that aired in 1978, and The Rock starred in a 2004 WALKING TALL remake that had nearly nothing to do with the original films or the Buford Pusser legend. The seven one-hour television episodes on DVD are nothing like TV crime drama at its finest, but its realistic location shooting (all in Southern California, it appears), fine actors, sharp action scenes, and committed, passionate lead performance by Bo Svenson, who could usually be counted on for one deeply felt monologue per show, make it an appealing curiosity for cop-show fans.

Posted by Marty at 11:48 PM CDT
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Sunday, April 16, 2006
The Greatest Commercial In The History Of Television

Posted by Marty at 5:08 PM CDT
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Thursday, April 13, 2006
You Knew Somebody Was Going To Do It Eventually
Finally, the trailer for BROKEBACK TREK starring William Shatner and Leonard Nimoy as lovers. I'm sure you're as tired of mock BROKEBACK trailers as I am, but I had to give this one a look, and it's actually pretty good. It's only about two minutes long, so give it a looksee.

I haven't mentioned in awhile what I've been reading. At the moment, I'm about 1/3 of the way through THE BLACK SHRIKE by Alistair MacLean. It's interesting so far, about a British agent who assigned to investigate the recent disappearance of some of the world's most preeminent scientists. All were traveling to Australia, but none arrived at their destination. So the hero and a female agent go undercover as husband and wife and are, presumably, waylaid by the same baddies responsible for the other kidnappings. At this point, the couple have escaped from their cell aboard a dank steamer ship and leapt into a stormy ocean, where they floated all night until miraculously washing adrift on a coral reef, which turned out, when the sun came up, to be near an island inhabited by an old British dude who, I'm betting, is involved with the original conspirators somehow.

I just finished MacLean's FEAR IS THE KEY, which I picked up before, but watched after, seeing the 1972 film adaptation. The movie, directed by Michael Tuchner and starring Barry Newman, John Vernon, Suzy Kendall, Dolph Sweet and Ben Kingsley, is surprisingly faithful to the novel with just a few relatively minor changes.

Before that, I read Brett Halliday's ARMED...DANGEROUS..., in which Miami private dick Michael Shayne goes undercover as a New York bank robber to bust a police corruption scheme, and DC Comics' SHOWCASE PRESENTS JONAH HEX, which is a 500-pages-and-more black-and-white collection of the first couple of dozen Jonah Hex comic book stories from the 1970's, all of which came from ALL-STAR WESTERN. Jonah Hex may be the most popular western character ever created specifically for comic books. As written by co-creator John Albano and later Michael Fleisher, who gave Hex a bit more depth, Jonah is a ruthless bounty hunter scarred physically and emotionally from his experiences fighting for the Confederates in the Civil War. Most of the stories are drawn by DC's stable of Filipino artists, including co-creator Tony DeZuniga, who give the character an appropriately bleak atmosphere. I hope DC releases more Jonah Hex in the SHOWCASE format, which is a thick book that sells for about $17--an excellent bargain.

What are you reading these days?

Posted by Marty at 11:31 PM CDT
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Wednesday, April 12, 2006
I Got A Beverage Here
According to the "Which Big Lebowski character are you?" quiz:

Why don't you check it out? Or we cut off your Johnson!

Posted by Marty at 8:40 AM CDT
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Tuesday, April 11, 2006
Star Trek 2.0
Goddamn it, can't they just leave STAR TREK alone? If G4 hates the show so much, why bother to air it?

I just caught a few minutes of STAR TREK 2.0, as the network calls it, on the G4 network. What they are doing is running STAR TREK reruns, but shrunken to postage-stamp size, and around the borders they're surrounding the image with...what exactly, I don't know. There's real time chat, which is displayed below the show, even though no one is chatting, and they just run the same comments over and over. On top is a "Pop-Up" type of caption that is frustratingly simplistic and apparently written by imbeciles. I swear to you that one read, "Sally Kellerman made her TV debut on The Outer Limits and she went on to appear in films and continues to work to this day." Also, the name "Mitchell" was misspelled "Micthell." Is that how G4 staffers write or is that how illiterate they believe their audience is?

The left border is taken up by the same dozen Trek Facts over and over that lists such witty items as the number of Torn Kirk Shirts, Spock Says "Illogical", and Uhura Touches Earpiece. On the right is the Spock Market. I have no idea what it is, but details are on G4's Web site.

Seriously, I don't know who the audience is for STAR TREK 2.0. If you're a TREK fan, you absolutely don't want to see the show surrounded with all this clutter and unnecessary sound effects. Hell, the image isn't even very good; the skin tones were purple-ish. And if you aren't inclined to watch STAR TREK, why would the chat room and Trek Facts elements entice you to try it? G4's programming decision makes no sense to me. The network clearly either doesn't like the show or has no faith in its ability to draw an audience, despite the fact that it's probably the most popular television series in the world.

The episode airing was "Where No Man Has Gone Before," which is the hour that sold the series to NBC and is so good that I was able to sit through about ten minutes of it. It holds up extremely well and Shatner is terrific in the climax, handling the action and dramatics like an expert series lead. The big fight at the end is marred by obvious stunt doubles, but that wasn't unusual for TREK, which oddly had trouble finding stuntmen that resembled its actors.

Don't watch the episode on G4 though. I'll stick to my DVDs.

Posted by Marty at 11:10 PM CDT
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We Call Him Sasquatch
Seeing this reminded me of the "dolls" that my brother and I used to have when we were kids. And, yeah, they were called dolls then; there was no such thing as an "action figure," as far as I remember.

Actually, I don't think we had the Bigfoot doll or the Oscar Goldman, but we did have the Six Million Dollar Man. You could roll up the skin on his arm and check out the bionics, and you could peer through the back of his head and through one of his bionic eyes.

THE SIX MILLION DOLLAR MAN was one of my favorite shows beginning when I was about eight or so, but unlike other favorite shows from that period, I can still watch it without cringing. I recorded the entire run on the Sci-Fi Channel 8 or 9 years ago, and it still holds up, I think. As many adventure shows were back then, it was designed to appeal to both adults and children, at least at the beginning. Unlike today's network television, which is pretty much tailored for viewers aged 18 to 30. I can't think of anything on the air today that would have interested me at age 9, other than maybe 24, which is too complicated and violent for 9-year-olds.

One of the most important nights of my childhood was the episode in which Steve Austin (Lee Majors), the former astronaut with $6 million of taxpayer dough inside of him in the form of bionic parts that ratchet up his strength, speed and vision, threw down with none other than Bigfoot. Yep, the legendary forest-dwelling apeman was alive and well in the backwoods of California, discovered by Colonel Austin while investigating some missing scientists. You need to remember that the Bigfoot legend was very much in the public mind when this two-part episode, "The Secret of Bigfoot," was telecast in 1976. And, wow, there was nothing more thrilling than when the two powerful rivals went at it, jumping down hills, ripping trees out of the ground and using them as rams, throwing powerful punches. All, of course, in slow motion and aided by those classic "bionic" sound effects (NA-NA-NA-NA-NA) and Oliver Nelson's music.

Oh, and it gets better. Bigfoot isn't just Bigfoot. He's a robot. From outer space. How kickass is that? Yep, Bigfoot, which his alien masters call Sasquatch, was built as a servant and protector by a group of basically benevolent aliens whose experiments are endangering the lives of Earthlings. Luckily for Steve, one of them is the foxy Shalon (Stefanie Powers), and she really digs him.

I showed this two-parter to some younger friends of mine who grew up on MACGYVER and TRANSFORMERS, and it still haunts me that none of them was the least bit entertained by it. I count that night as a majestic Crappy Movie Night failure, and it still perplexes me. What is it about a bionic man and a robot alien Bigfoot fighting each other in a majestic California forest that they didn't like? I don't think I'll ever get over that. I mean, there's a lot of dumb stuff that I like that I completely understand why nobody else likes. But Steve Austin vs. Sasquatch? That's fucking cool, dude.

Why isn't THE SIX MILLION DOLLAR MAN (or its spinoff, THE BIONIC WOMAN) on DVD yet? Beats me. Universal has been very aggressive in releasing its '70s TV shows, including COLUMBO, DRAGNET, ADAM-12, THE ROCKFORD FILES, EMERGENCY, MCCLOUD and more. I believe that THE SIX MILLION DOLLAR MAN would sell better than most of those shows, besides ROCKFORD and COLUMBO, so I can't imagine what the holdup is. I've been meaning to go through those old videotapes of mine and dub them to DVD-R, but I've only managed a couple so far. Obviously, those Sci-Fi versions are cut, time-compressed and/or feature shrunken credits, so they aren't optimal viewing. But I guess it's all I have for now.

Posted by Marty at 10:30 PM CDT
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YouTube Back In Action
So go watch that BILLY JACK clip, Tolemite!

Posted by Marty at 9:59 PM CDT
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Sunday, April 9, 2006
Temporarily Out Of Order
YouTube is down temporarily, so if you want to see any of the videos imbedded on my site (and who wouldn't?), just hold tight.

Posted by Marty at 3:17 PM CDT
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Saturday, April 8, 2006
Billy Jack Serves Old Racist Ranchers
Coven's "One Tin Soldier" came up on iTunes, so I thought I'd check to see whether YouTube had any sweet BILLY JACK action. It does. Check out Billy Jack "wopping" this old dude right in the face:
And the bloody morning tin soldier rides awayyyyyy!

BILLY JACK was a seminal part of my childhood, as was, to a lesser extent, its immediate sequel, THE TRIAL OF BILLY JACK, which I vividly recall seeing on network television. It was years before I was able to see the first in the series, THE BORN LOSERS, which is somewhat of an anomaly. The fourth movie, BILLY JACK GOES TO WASHINGTON, was never officially completed or released, and I didn't see it until its DVD debut in the late '90s.

Even though I've seen BILLY JACK a zillion times, it's a difficult film to recommend. It's crudely filmed and often tedious, particularly the scenes involving the improv group and the kids at the Freedom School. The action scenes aren't very polished. Some of the performances, including the female lead (played by BILLY JACK star/writer/producer/director Tom Laughlin's wife Delores Taylor), are amateurish. However, there's no question that BILLY JACK was an enormous box-office success and touched a real nerve with moviegoers in the heartland. I suspect that in terms of pure profit margin, BILLY JACK is still one of the most successful movies ever made.

There's a helluva lot more to say about Tom Laughlin and the BILLY JACK movies than I have time to relate now. Maybe that's for a future post. If you've never seen BILLY JACK, you probably should, for historical purposes if not for any other reason.

Basically, it stars Laughlin as the title character, a mystical half-breed Indian and ex-Green Beret who uses karate to preach his own brand of pacifism to the ignorant bigots of a small Southwestern town. Laughlin is excellent as one of the cinema's few liberal action heroes, but BILLY JACK ultimately sinks under the weight of its own pretentiousness. The film preaches about so many subjects (gun control, education, racism, the justice system, the generation gap) that it eventually becomes tedious. The action scenes are good though, and the opening title sequence involving the roundup of wild mustangs is beautifully shot by cinematographer Fred Koenekamp, getting the movie off to a good start.

It also has one absolute classic scene, in which some young toughs harass some children in an ice cream parlor by pouring flour over the head of a cute little girl. Billy Jack waltzes in and gives a long speech about how, when he sees such beautiful young angels mistreated by insensitive bigots, he...just...goes...BERSERK and then he freaks out and kicks the shit out of the hoods.

THE TRIAL OF BILLY JACK may be the most unusual smash hit of all time, an existential, often dull three-hour epic that's hilariously awful and somehow earned a PG from the MPAA, despite its lengthy and surprisingly bloody sequence in which a bunch of children are shot and killed by National Guardsmen. Laughlin often has a dozen or more subplots running at the same time--a child-abuse victim who plays guitar with his hook hand, a snowy mountaintop rescue, run-ins with rednecks and trigger-happy cops, a greedy land magnate, a lot of folk singing and much, much more. Billy experiences hallucinations during a drug trip to explore his Native American side, is guided by a beautiful Indian girl, slaps a construction worker and a hippie protester, and eventually encounters his mystical, blue-painted double in the Cave of the Dead.

I also recall Paul Simon playing "Billy Paul" in a SATURDAY NIGHT LIVE sketch.

Posted by Marty at 1:06 AM CDT
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Wednesday, April 5, 2006
Happy Birthday, Roger Corman
A man whom I firmly believe to be one of the great American filmmakers turns 80 today. Roger Corman was born April 5, 1926 in Detroit, Michigan, and in his honor, Tim Lucas at the essential Video WatchBlog site (Tim edits VIDEO WATCHDOG, the preeminent publication dedicated to fantastic and cult cinema) has proclaimed a Roger Corman Blog-A-Thon, meaning several Corman fans will be posting tributes to the legendary director/producer/studio executive today.

Coming up with something to write about Corman that has neither been written about 100 times before nor will be tackled again by other bloggers is a tough chore. However, I'll tackle one of Corman's most important pictures, a film that he claims is the only one he ever directed that lost money.

Corman has said publicly on several occasions that THE INTRUDER is his favorite of the 51 films he directed between 1955 and 1971 (his last was FRANKENSTEIN UNBOUND in 1990--nearly 20 years after his previous movie). It's also a unique entry in the Corman oeuvre, a searing, powerful drama that tackles the serious issue of race relations in the Deep South at the peak of the civil rights movement. Up to that point, Corman's films were strictly for exploitation, genre pics with titles like TEENAGE CAVEMAN, ATTACK OF THE CRAB MONSTERS and SHE GODS OF SHARK REEF. He was about the last guy one would expect to make a movie like THE INTRUDER.

Corman directed and produced the film, and his brother Gene Corman was the executive producer. He filmed it in several small towns in Missouri, where the story goes that the script that was shown to the local citizens was changed somewhat to make the movie's racist villain look like the hero, so the filmmakers wouldn't be lynched while scouting locations. It has also been said that the reason THE INTRUDER was filmed in so many locations, including Sikeston, Charleston and East Prairie, Missouri, is because once the locals discovered the movie was anti-prejudice, they really did chase Corman and his company out of town. Some shots were made on the fly by leaping out of a car, setting up a camera, grabbing a few frames, and splitting before anybody saw them.

The result was a box-office flop when Pathe-America released the independent feature in 1962. Years later, Corman re-released it under the alternate titles SHAME and I HATE YOUR GUTS in an attempt to fool people into thinking it was a cheap exploitation movie, but his ruse was unsuccessful. It was clear once audiences saw the film that it was more than just cheap entertainment.

THE INTRUDER stars William Shatner as a racist rabblerouser named Adam Cramer. Those who accuse Shatner of being a "bad actor" should have their mouths washed out with soap and see THE INTRUDER. Shatner had done few features up to that point, but was a very popular guest star on episodic and anthology TV series and was also an acclaimed stage actor. I would imagine it was considered something of a coup for Corman to have landed such a star.

Shatner is riveting in the film, and you can't take your eyes off of him, as his sly bigot visits a small Missouri town at the time of desegregation, and convinces the bigoted white townspeople to harass the black high school students. When the brave teenagers break the school district's color barrier anyway--as the new federal laws mandated they do--Cramer forces the daughter of a prominent white citizen to falsely accuse a black student of rape.

What few critics screened it at the time had praise for THE INTRUDER. Even the notoriously grouchy Bosley Crowther of the New York Times blessed it as a raggedy, raw film of unflinching power. Very few audiences saw it, though, and it appears to have done little (good or bad) for the careers of Corman and Shatner. It clearly was an important experience for the men, who reunited in 2000 to film a joint on-camera interview for a Special Edition DVD release of THE INTRUDER, which Corman put out through his Concorde/New Horizons label.

THE INTRUDER is a fascinating anomaly in Roger Corman's career. It stands alone among the hundreds of films in which he has participated as a director, producer, executive producer and studio exec (Corman owned New World Pictures from approximately 1970 to 1985 and then started Concorde/New Horizons shortly after that). Corman has made films in nearly every genre you can imagine--science fiction, horror, sword-and-sorcery, childrens, women-in-prison, car chase, comedy, erotic thrillers, martial arts, slasher flicks, gangster, killer robots, you name it. Yet only THE INTRUDER completely eschews exploitation elements to tell a real, adult story that pushes buttons in its pursuit of hard-hitting social commentary. It isn't a perfect film by any means. Since Corman used local non-actors in supporting roles, some of the performances are very stiff. The ending is an unsatisfactory deus ex machina. Corman's guerrilla filmmaking style (necessary, considering the personal danger he and his crew were in) results in somewhat craggy production values. I don't think any of that matters. THE INTRUDER is a good story--and a socially important one--well told, and a story that remains as relevant today (as the Katrina tragedy demonstrates) as it was in 1962.

Happy birthday, Roger. Thank you for giving us DEATHSPORT and NIGHT CALL NURSES and BEAST OF THE YELLOW NIGHT and THE PREMATURE BURIAL and ROCK ALL NIGHT and SORORITY GIRL and DEATH RACE 2000 and not one, not two, not three, but four movies featuring hot women who fight karate with no top on. But especially thank you for THE INTRUDER.

Posted by Marty at 12:04 AM CDT
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