Lonnie (Ken Scott) just got out of prison for vehicular homicide. The problem is that through the course of the movie you realize that he didn't do it but took the rap for his girlfriend, Melinda (Martha Hyer). But when Lonnie gets into town, he learns that Melinda is married and she didn't wait for him! Nice girl, huh? Well, through the course of the film you come to realize that she's actually much, much worse!This film definitely pushed the envelope back in 1960...deliberately so. The fim begins with a scene where you THINK you see someone skinny dipping and the story is filled with sleazy elements and some cursing as well as the word 'rape'....somewhat tame by modern standards but certainly not for 1960!So is it worth seeing? Well, the acting quality is very good and it's a well made film. Whether or not you will like it will depend a lot on whether or not you like sleazy soap operas. I enjoyed it. By the way, this film has some very strange billing. Although Kent Scott clearly plays the leading character in the film, he gets fourth billing. And, although Joan Bennett received third billing, she's barely in the film.

There should be a special genre name for dramas focusing on the so-called sweet southern life. Outside of the mint juleps, magnolia blossoms and happy servants being paid for serving their overly charming employers, there's the memory of slavery, the desire for power and the selfish Belle's that would gladly kill to get the man they want and the disillusioned or insane family matriarch hanging into a dream that never came true. The stories are sprawling and the characters colorful, but unfortunately, this black and white wide screen film is as dusty and depressing as the characters involved in the clichéd story.Sharecropper's son Ken Scott has been released from a chain gang for an accidental death that he was not responsible for. Returning home, he finds out that the rich girl he loves (Martha Hyer) is engaged to marry doctor Brett Halsey. Her powerful father (Raymond Burr) has a hankering to be governor of Louisiana and wants no scandal shaking things up, so Scott's presence is quite unwelcome. Then, there's Joan Bennett as his seemingly mentally unhinged wife, clinging onto the belief that a dead son is alive. Knowledge of past scandals involving Burr's family has given Scott's father (Douglas Fowley in a part that Walter Brennan would have played 20 years before) an upper hand on retaining his land, so there's plenty of intrigue to be dealt with during the film's 100 minutes.For the first 20 minutes of the film ("the grabber"), pretty much nothing of interest happens other than a generic introduction to the younger characters. It's obvious that Hyer is a spoiled, selfish modern belle, and that doesn't make her at all a leading character to sympathize with. Burr is the typical powerful blowhard, and while he has the charm that hides a nasty streak, he lacks the commanding southern presence that actors like Burl Ives and Ed Begley had. The wasted Joan Bennett is simply there for the big reveal and while still very attractive, lacks the moments in the script to really build to the big ball drop. Scott is definite eye candy but lacks the charisma of other young rebels with causes. This is one of those letdowns that seemed to have promise, but is basically a large steak where the juicy bits seem surrounded by fat. Trim that fat, and you end up with dog scraps.

With a title like this, the key word isn't likely to be subtlety! The story concerns two Louisiana families bound together by a tragic event. Burr (completing the triad of Orson Welles in "The Long, Hot Summer" and Burl Ives in "Cat on a Hot Tin Roof") plays a domineering colonel who runs roughshod over everyone within his sight, all the while wielding a rather intimidating (and focus-stealing!) walking stick. His wife Bennett lives in a dreamy stasis, unable to accept the fact that her youngest child has died six years prior. His daughter Hyer is an icy beauty and a chip off the old block, matching him in his ability to manipulate people. Ging, his son, has trouble standing up to him, especially when he's ordered to stop seeing buxom, but tacky Helm. Helm's brother (Scott) has just returned from a stint in prison for killing Burr's little boy. His father Fowley is a moonshining sharecropper who barely scrapes by. Rounding out the massive cast are Field, as the long-suffering sister of Scott and Helm, Binns, as a prying newspaperman and Halsey, as the handsome, but clueless husband of Hyer. It could very likely require two viewings of the film in order to clearly catch all the connections between these characters since none of it is made particularly clear right off the bat. A viewer could be forgiven for thinking that Hyer is Burr's mistress rather than his daughter, though that may have been the intention. The credits have barely rolled before the hilarity begins. Cornpone accents abound as the characters take their turns being introduced. Fowley and Field grapple with their old Jeep, Bennett throws a birthday party at the gravesite of her son, Ging jumps fully clothes into a lake in order to kiss Helm and Scott tosses a mouthy bar patron across a pinball machine! Before long, tempers start to rise (as do some passions) and mysteries begin to unfold about the death of the little boy. It all comes to a head at Burr's hunting lodge and later at his estate. There's enough plot here and a large enough assortment of characters to warrant a full season of a prime-time soap. So many characters are present that sometimes they are offscreen for long stretches until their turn comes back around, but everyone gets a chance to make an impression. Lurid and tacky as the film is, the script is actually rather nicely constructed save a few contrivances and senseless interludes. Burr clearly enjoyed this return to villainous roles as he was in the throes of his long-running "Perry Mason" series at the time. He's pretty hammy throughout, but goes off the Richter scale near the end. Hyer is deliciously sleazy and duplicitous, also relishing the chance to break out of the more "nice girl" roles she often played. Bennett hasn't got much to do for the bulk of the film except be overheard breaking things, but she does well when her storyline reaches it's boiling point. Surprisingly, one of the most sincere, believable and interesting performances in this film full of big personalities is Field's. She invests her stock, dirt poor character with humanity and variety to good effect. Fans of "The Beverly Hillbillies" will be intrigued to see Ryan ("Granny Clampett") in her last reasonably normal role as Bennett's nurse before becoming, once and for all, the mountain-born imp with a frying pan in one hand and a shotgun in the other! The film is a hotbed of emotion, some of it quite hilarious, that is tempered somewhat by the black and white photography. One can only imagine the unbelievably vivid, but vulgar spectacle that would have resulted if the film had been shot in glorious Technicolor.

Heavy-breathing and faux-Southern, though shot, we are told at the end, in authentic Louisiana locations. We have incest here, folks, or hints of it. (That would be patriarch Raymond Burr and his daughter Martha Hyer.) We have nymphomania (Hyer.) We have boozing and fighting.We have insanity in the form of Burrr's wife, played by Joan Bennett. (She looks great here -- much better than a decade earlier in the very different and far better "Father of the Bride.) The movie opens with a birthday party for her little boy. The problem is, the party is taking place at his grave. He's been dead six years or so.The man sent up for killing him while driving drunk is Hyer's ex-boyfriend. She's married now -- and to a doctor, no less.It isn't believable. But it's never dull. And there's much to be said for an entertaining movie, no matter how silly it is at its core.