THE INTRUDER VS. TO KILL A MOCKINGBIRD
A tale of two movies, both from 1962 and both dealing with racism.
Other than their year of release, some of their subject matter, and their being filmed in black-and-white, the films are worlds apart in virtually every other way, including how they have been received by the establishment and the general public.
Roger Corman directed and co-produced (alongside his younger brother Gene) THE INTRUDER for $80,000 and it was filmed on location for three-and-a-half weeks in Southeast Missouri towns East Prairie, Charleston, and Sikeston. William Shatner stars as race hate inciter and outside agitator Adam Cramer and the young Canadian actor was still years away from becoming a household name for “Star Trek.” THE INTRUDER takes place contemporaneously with the civil rights movement and school integration; Charles Beaumont adapted his screenplay from his own 1959 novel of the same name and he even plays school principal Mr. Paton in the film.
Robert Mulligan directed TO KILL A MOCKINGBIRD behind a $2 million budget and major studio backing with a screenplay by future Pulitzer Prize winner Horton Foote adapted from Harper Lee’s 1960 Pulitzer Prize-winning novel of the same name that had already become an institution even before a prestigious film adaptation. Gregory Peck, nominated for an Academy Award for Best Actor four times before his most famous role (THE KEYS OF THE KINGDOM, THE YEARLING, GENTLEMAN’S AGREEMENT, TWELVE O’CLOCK HIGH), stars as noble lawyer Atticus Finch. TO KILL A MOCKINGBIRD filmed on Hollywood back lots and sets designed to recreate the Monroeville, Alabama of Lee’s Great Depression youth.
THE INTRUDER premiered May 14, 1962 in New York City and it would be reissued as I HATE YOUR GUTS and SHAME. In other words, it flopped and Corman has never quite made another picture like THE INTRUDER again. His later exploitation productions hid and obscured their social commentary behind and beneath protective layers of nudity, sex, and violence.
TO KILL A MOCKINGBIRD debuted Dec. 25, 1962 and just like the Lee source material, it became an almost instantaneous social institution and beloved classic. It received eight Academy Award nominations, including Best Picture, and won three, including Best Actor for Peck. It has been a longtime staple of the American Film Institute: No. 34 on the 1997 “100 Years … 100 Movies” list and No. 25 on the 10th Anniversary list and the AFI voted it the No. 1 courtroom drama and Atticus Finch the No. 1 hero on its list of the 100 greatest heroes and villains.
I watched both films in close proximity of each other (both for the first time) and THE INTRUDER absolutely shames TO KILL A MOCKINGBIRD.
Sorry, folks, Adam Cramer presents a far more interesting character than Atticus Finch and Shatner’s incendiary performance blows away Peck and its relentless note of nobility.
Cramer, a non-Southerner decked in a bright white suit, rides into the fictional small Southern town of Caxton and quickly comes on strong as a gentleman. This clever conman and charlatan then goes to work and preys on the racist, anti-integration sympathies of many of the residents to meet his goal of inciting a race war town-by-town. Cramer’s a master manipulator and rabble-rouser who also sets his sights on a high school girl and a frustrated housewife. His manipulative powers lead to one of the black students, Joey Greene (Charles Barnes), being falsely accused of rape by a white girl. That, of course, ties in with the absolute worst nightmare of a racist, one infinitely worse than integration. In a chilling final scene, the inflamed mob interrogates Mr. Greene about this rape. The mob believes it has become judge, jury, and executioner.
Fact and fiction must have blurred for novice actor Charles Barnes, a 19-year-old young man from Charleston (one of the three towns used in filming) whom Corman instructed to draw from real-life experiences attending an integrated high school in his hometown his senior year. The Pittsburgh Courier ran a story on Barnes in May 1962, headlined “Negro Actor’s Reel Role Too Real for Whites … And He Has to Leave Hometown.”
THE INTRUDER plays real, and that sealed its commercial doom and consignment to the dustbin (at least the margins) of cinematic history.
On the other hand, TO KILL A MOCKINGBIRD plays like a series of pat moral lessons for two hours, interrupted by youthful shenanigans and occasional voice-over narration to put us in a proper nostalgic mood.
Enter “To Kill a Mockingbird moral lessons” into a search engine and it returns 1,340,000 hits.
Is that why so many people love TO KILL A MOCKINGBIRD?
Are fans of the film made to feel virtuous watching it?
Just asking for a friend.
Atticus Finch comes across so darn noble maybe because an older Scout Finch, his daughter, narrates the story.
She begins, “Maycomb was a tired old town, even in 1932 when I first knew it. Somehow, it was hotter then. Men’s stiff collars wilted by nine in the morning; ladies bathed before noon, after their 3 o’clock naps, and by nightfall were like soft teacakes with frosting from sweating and sweet talcum. The day was twenty-four hours long, but it seemed longer. There was no hurry, for there was nowhere to go and nothing to buy … and no money to buy it with. Although Maycomb County had recently been told that it had nothing to fear but fear itself … That summer, I was six years old.”
The narration put me off right from the start and it all translated as “Grandma, tell me about the good ole days.”
Between the narration and the sets and the characters, TO KILL A MOCKINGBIRD feels like experiencing a show called “The South 1932” at Universal Studios Hollywood. LOOK! It’s a one-dimensional racist white trash caricature! LOOK! It’s busybody neighbors! LOOK! It’s a crotchety old bag! LOOK! It’s a sheriff named “Heck Tate”! FEEL GOOD ENTERTAINMENT! I don’t know why I need to pay money to see that when I could experience all that for real somewhere in Small Town U.S.A. Never mind, I’ll pass on both.
TO KILL A MOCKINGBIRD stitches together multiple narrative threads, some more successfully than others.
— Scout (Mary Badham), her older brother Jem (Phillip Alford), and her best friend Dill (John Megna), and their larger-than-life misadventures.
— Scout and Jem and their relationship with Atticus, as well as their black maid Calpurnia (Estelle Evans).
— Atticus defends Tom Robinson (Brock Peters), a black man falsely accused of rape by Mayella Ewell (Collin Wilcox) and her father Robert E. Lee “Bob” Ewell (James Anderson), during a trial when the odds are stacked dramatically against both men. Before the trial, townspeople — including Scout’s school mates — call Atticus a “nigger lover” and some of the most concerned citizens form a lynch mob.
— The children’s obsession with Boo Radley (Robert Duvall).
Badham and Alford both give very good performances and their rapport with each other and Peck forms the strongest part of the movie. Badham’s debut performance received a well-deserved nomination for Academy Award for Best Supporting Actress. I understand why multiple generations of young women have responded so favorably toward TO KILL A MOCKINGBIRD. (Mulligan later directed Reese Witherspoon in a similarly affecting performance in the 1991 film THE MAN IN THE MOON.)
On the race level, though, that’s where TO KILL A MOCKINGBIRD fails and it fails miserably.
The black characters remain predominantly in the background, Tom Robinson dies offscreen, and Bob Ewell belongs to a movie racist tradition called “Ku Klux Klown.”
We also have quite possibly the only mob in history ever talked down by a 6- or 7-year-old girl.
By comparison, in THE INTRUDER, a mob burns a cross in a black neighborhood, blows up the local black church and kills the preacher in the blast, and severely beats up the white character who takes a stand alongside the blacks and encourages them to return to school after the bombing. This conscientious white character gets so beaten that he receives broken ribs and loses one eye.
Nobody lays a hand on Atticus.
Meanwhile, only Peters and Evans received screen credit among the black actors in TO KILL A MOCKINGBIRD.
All the others were not credited.
That includes William “Bill” Walker in the small but pivotal role of Reverend Sykes, who delivers the famous line “Miss Jean Louise? Miss Jean Louise, stand up. Your father’s passin’.” Peck himself said this scene — where all the black people in the balcony stand up for Atticus Finch after he defended Tom Robinson — wrapped up his Academy Award for Best Actor.
To be fair, some of the white actors, including Kim Stanley as the narrator, also were not credited.
By the point late in the movie when Bob Ewell attacks Jem and Scout and Boo Radley comes to their rescue, it was basically too little too late for this viewer. I was just ready for TO KILL A MOCKINGBIRD to be over.
Attack of the Killer Librarian 