The 4 Jan 1960 LAT reported that Roger Corman, president of Filmgroup, Inc., purchased motion picture rights for the 1959 novel by Charles Beaumont, based on a series of recent racial incidents in Clinton, TN. The film would be the first under Corman’s contract with producer Edward Small, for release through United Artists (UA). Two months later, the 13 Mar 1961 DV stated that Corman was embarking on a trip to Tennessee to scout locations, and to meet with exhibitors who advised him to expect little cooperation from Southern states on “a picture dealing with racial integration.” Although only Beaumont received screenwriting credit, the article claimed that he and Corman collaborated. As of 24 May 1961, Corman was seeking locations in Florida, according to that day’s Var, while the 31 May 1961 Var noted that he was having difficulty raising the $200,000 budget. The 16 Jun 1961 DV revealed that the controversial storyline had already lost Corman four financial backers. Undaunted, the filmmaker offered actor Tony Randall a lead role, with hopes of increasing the budget to $500,000, as stated in the 16 Jun 1961 DV. Within days, however, the 19 Jun 1961 DV reported Randall’s rejection of the deal.
       One month later, Corman was on another scouting expedition, this time to Missouri, as noted in the 19 Jul 1961 DV. Principal photography began 31 Jul 1961, according to 4 Aug 1961 DV production charts. The 14 Aug 1961 DV indicated the end of production with star William Shatner’s return to Los Angeles, CA, the previous day.
       One week later, the 21 Aug 1961 DV reported that, although Corman had a guarantee of cooperation from the Charleston, MO, Chamber of Commerce, he encountered interference from two school-board members, both of whom objected to the film’s depiction of racial integration. Despite arrangements to film in two integrated schools, permission was revoked before Corman could shoot any footage. The delays reportedly added $30,000 to the production budget. The 23 Mar 1963 LAT revealed that the cast and crew had to work quickly, moving “from hamlet to hamlet” as local residents became aware of the picture’s theme. To avoid potential problems with local residents among the cast, Corman distributed screenplay pages pertaining only to the scene being filmed. Regardless, the company needed the assistance of police, firemen, and the National Guard by the end of production. Afterward, Corman and his brother, executive producer Gene Corman, assisted African American actor Charles Barnes in relocating to a Northern state for his own protection.
       On 18 Sep 1961, DV reported that Roger Corman was on his way to Washington, DC, to screen the picture for the National Press Club. Film critic Arthur Knight also hosted screenings in his classes at the University of Southern California (USC), according to the 11 Jan 1962 DV.
       Corman encountered another obstacle when the Motion Picture Association of America (MPAA) denied its approval because the word “nigger” appeared frequently in the dialogue. The 6 Feb 1962 DV noted that distribution would be limited without MPAA approval, but Corman refused to remove the word because it would reduce the picture’s social impact. Despite endorsements from the National Association for the Advancement of Colored People (NAACP) and the U.S. Senate Subcommittee on Constitutional Rights, the MPAA was unlikely to alter its decision. Corman planned to register an appeal. On 15 Feb 1962, the Los Angeles Sentinel defended the MPAA, explaining that the word in question offended and dehumanized African Americans. Three weeks later, the 7 Mar 1962 DV reported that MPAA vice-president Kent Clark screened the film for “a special committee” and reversed the Association’s decision.
       The Intruder opened 16 May 1962 in New York City, and screened that summer at the Venice Film Festival. Critical notices were mixed, although several commended the filmmakers for their courage.
       The 24 Sep 1962 DV reported that, although distributor Pathé-America had gone out of business, Corman was still in debt to the company for publicity expenses. He signed a deal with Mike Ripps of Cinema Distributors of America, who repaid the debt and took over the release. An article in the 19 Dec 1962 Var explained that The Intruder, after failing as a “prestige” film, was being re-released with a “hard-sell” exploitation campaign. While Corman admitted that he preferred “the prestige approach,” the new campaign would enable him to recover his investment and make a profit as well. Corman reportedly financed the nearly $200,000 project with profits from his more successful productions. Although the filmmaker gave Ripps free rein in exploiting the picture, the director’s edit was to remain intact. When questioned as to whether the film might compromise the U.S. image abroad, Corman argued that it would have the opposite effect, as a testament to the free society that allowed it to be made. The 6 Nov 1963 Var announced the picture’s 1964 release under the title, I Hate Your Guts. Some prints were given the title, Shame.
       The 30 Dec 1965 LAT reported the film’s opening the previous week in Los Angeles, on a double bill with Rat Fink (1965, see entry). William Shatner told the 2 Feb 1966 LAT that he was deeply upset over the fate of “the picture he risked his life to make.”
       A news item in the 18 Oct 1961 LAT noted that voice actress June Foray participated in the production.