| Cast overview, first billed only: | |||
| William Shatner | ... | Adam Cramer | |
| Frank Maxwell | ... | Tom McDaniel | |
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Beverly Lunsford | ... | Ella McDaniel |
| Robert Emhardt | ... | Verne Shipman | |
| Leo Gordon | ... | Sam Griffin | |
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Charles Barnes | ... | Joey Greene |
| Charles Beaumont | ... | Mr. Paton | |
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Katherine Smith | ... | Ruth McDaniel |
| George Clayton Johnson | ... | Phil West | |
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William F. Nolan | ... | Bart Carey (as William Nolan) |
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Phoebe Rowe | ... | Mrs. Lambert |
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Bo Dodd | ... | Sheriff |
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Walter Kurtz | ... | Gramps |
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Oceo Ritch | ... | Jack Allardyce (as O.C. Ritch) |
| Jeanne Cooper | ... | Vi Griffin | |
A man in a gleaming white suit comes to a small Southern town on the eve of integration. His name is Adam Cramer. He calls himself a social reformer. But his aim is to incite the people against letting black children into the town's white school. Soon he has the white citizens of the town worked up. He thinks he's leading them; but a man he befriends and immediately betrays knows better. The people have become a mob. The black leader of a church and a white newspaper editor soon feel its wrath. But after a false accusation against a black student, Adam Cramer may find the people are totally and permanently out of his control. Written by J. Spurlin
A Northern white racist named Adam Cramer (played by William Shatner) moves to a Southern town, specifically to stir up racial hatred among Whites, as revenge for the passage of a recent desegregation law. Cramer, a smarmy, smug political salesman who smirks a lot, wears a white suit and represents the so-called "Patrick Henry Society".
The theme here is obvious and blunt. There is no subtlety either in story or in characterization. All the Blacks are portrayed as good. Most of the Whites are bad, and very easy to dislike. The story reeks of simplistic good vs. evil; there are no shades of gray. The film's ending is both predictable and unrealistic.
Except for the general level of overacting, the film's non-script technical elements are fine. The "black and white" cinematography is very good, and conveys a noir look. Background music appropriately hints at tension and danger. And I really liked the film's scene transitions.
Given the era in which it was made, "The Intruder" was quite bold and brave. The subject matter went against conventional "wisdom". It's a wonder the film ever got made. The film's director deserves cheers for his courage.
Although the story is dated, this is an excellent film to watch for its historical significance. The evil Cramer is an appropriate cinematic representation of the segregation attitudes that existed then, and to some extent, unfortunately, still exist, in American society.