There is so much to think about, and so little space to write these thoughts. Let's begin with the story of The Intruder. It is one of the best stories to come out of the "problem film" period of cinema (late '40s to late '60s). In fact, the only other "problem film" that is as interesting as The Intruder is Luis Buñuel's The Young One. Deeper consideration will surely show this to be the reason why both are fascinating treatments of American racism: They are not products of the Hollywood system. Buñuel's film comes out of the European art film system; Corman's comes out of the American B movie system. The Intruder is written, shot, edited, and scored with the raw enthusiasm and economic efficiency of a B movie.
Before getting into the story, a mention of the lead actor: He is none other than Captain Kirk, William Shatner. But whereas Shatner as Kirk is a champion of liberty, democracy, equal rights, Shatner as the intruder (as Adam Cramer) is a demon of hate, mendacity, and the will to power. And now for the story: Cramer arrives by bus to a small town in the sleepy South. The town is in the difficult process of racially integrating its high school. None of the folks on the white side of the town want this to happen, but because it's now a federal law, they can do nothing about it. Cramer takes a room in a motel and immediately begins his evil work. He delivers racist speeches, publishes racist editorials in the local paper, and lights and fans the racist feelings of the white folks.
But even more than this, Cramer is a seducer of young and old women. His balls dominate his being; he is a cock dressed up in fancy clothes; he is a good-looking dick on two legs; the ladies of the town can't resist this walking, talking prick. The Southern heat, the violence of the white men, the seduction of the girls (one is even six years old) and married women drive the story all the way up to the peak of a delirious climax. It all ends after an orgasm of hate and violence—B moviemaking at its best. 
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