The Bad One

Stunning Susan Cabot is Sabra, a troubled young woman indeed. Despised by her mother and hated by her sorority sisters, Sabra has plenty of dough but no friends and nothing but hatred for the world and everybody in it, including herself. She tortures the poor chubby li'l pledge that has been assigned to her as a "little sister", at one point even giving her *gasp* a good spanking! Events soon spiral out of her control, though, and her slippery slope of loathing soon leads her to blackmail, extortion, and revenge. And when I say "soon", I mean "soon", because the whole darn movie is only 60 minutes long! I like SORORITY GIRL a lot. In addition to Miss Cabot (who gives her best performance ever here, despite the fact that at age 30 she was a little long-in-the-tooth to be a sorority girl), you'll find Barboura Morris (the sexiest of all '50s AIP starlets, in this guy's opinion), June Kenney (well remembered from ATTACK OF THE PUPPET PEOPLE), and the ubiquitous Dick Miller (somewhat surprisingly playing a character not named Walter Paisley).

Roger Corman said that AIP presented him with the script and asked him to make the picture quickly and cheaply (no surprise there); Corman was used to being involved in his screenplays, so he worked on it as quickly as he could while filming commenced. He shot the picture at the USC campus and rented, rather than built on a set, the sorority house, to accomplish maximum frugality. It gives the film a nice college atmosphere (watch the cast hanging out at USC landmarks just to show they were really on campus).

The film's hour running time allows for no humor, and suspense builds nicely to the picture's climax. (I shouldn't say NO humor; look for the lamps in Sabra's room: they are ballerina legs with tutus for shades!) In the end, when all of the sorority sisters finally confront Sabra on the beach ("You're not human – you're something the SEA cast up!") I actually felt sorry for the poor little sociopath.

SORORITY GIRL originally played as a double-feature with MOTORCYCLE GANG, and that film is also recommended.

This is another of those young people who go wrong movies that were so popular from the mid-fifties to mid-sixties, all trying in their own way to be another "Rebel Without a Cause", and few succeeding.

This one didn't succeed either, but it can still hold your interest, as you find yourself alternating between wanting to throttle the main character and feeling sorry for her.

The movie could have been titled "Lost Cause", as she seems doomed from the start, a girl rich in material things but poverty stricken when it comes to love and affection, none of which her widowed socialite mother is willing or able to give her. She takes her unhappiness out on the girls in her college sorority, and all her cruelty, scheming, and blackmailing backfire on her.

If you're looking for a happy ending, you won't find it here.

If you're looking for a great movie, you won't find that either.

If you're looking for something to kill time, you've come to the right place (I guess).

This is one of my all-time favorite movies. It's a masterpiece. I think Susan Cabot is right up there with Faye Dunaway in "Mommie Dearest," and Lili Taylor in "I Shot Andy Warhol" in her role as Sabra. I think anyone with any damned sense can see him/herself in this young woman. Call me disturbed, or twisted, but that's just the way it is. The scenes with Sabra & her mother are priceless, as are the interactions (and altercations!) between Sabra & Rita, her roommate. It's hard to believe Corman made this film in 1956; it holds up so well. If you miss this, you are missing out on life itself.

Corman is just here to inform of real social dangers, not to exploitatively take advantage of a trend to quickly sell a frugally made film and make a profit as swiftly as possible. He's here for the social good! Okay, he's not. However, I will say that the script Corman is working from, written by Leo Lieberman and Ed Waters, is more grounded than the work that Charles Griffith had been writing. It's also kind of confusing with a couple of characters that probably should have been combined while also being ultimately purely exploitation just underneath the surface. It exists in this weird middle ground between serious drama and exploitation that neither the script nor Corman really know how to bridge. It's interesting and kind of works, but that dichotomy undoes the film to a certain degree.

At an all girls' college, Sabra (Susan Cabot) belongs to a sorority and is roommates with Ellie (Barbara Cowan). Ellie's mousy and reserved. Sabra is pretty much psychotic but very composed about it. Sabra just likes to hurt people, and the film is about her exploring that, fighting it, and just kind of doing it even when she's helping. Sabra as played by Cabot is really the heart of the film, and had it been given the proper central focus and depth of writing necessary, it would have been a great rock to build a very good film. Instead, there's no real depth to the character and it's ends up a decent rock on which to build a kind of interesting film.

Sabra ends up with a key antagonist in Tina (June Kennedy), a girl running for class president and with the boyfriend Mort (Dick Miller). Tina views Sabra's mistreatment of Ellie, in particular a hazing moment where Sabra just straight up spanks Ellie with a paddle emblazoned with the Sorority's Greek letters (not exploitation, social commentary this is). Sabra decides to take out her anger on Tina by stealing her boyfriend.

Confronted with her bad behavior, Sabra runs to her mother (Fay Baker), looking for understanding or an explanation for her sadistic behavior who offers none. She's then presented with the troubles of Rita (Barboura Morris) who has gotten pregnant (the scandal! In the 1950s) and convinces her to blackmail Mort into giving her $1000. Everything goes wrong, there's a suicide attempt. And we end with Sabra being faced with her own comeuppance.

It's decent. The writing is something of a mess. I think Tina and Ellie should have been combined into one character because separate they don't really do that much narratively. I also think more of Tina's time should be focused on Rita since Rita ends up the focus of the final long stretch of the film. It ultimately feels like there's just this indecision about where the central conflict is, probably stemming from the idea that Sabra's anger is omnidirectional. However, you can still sell that with smaller vignettes as long as there's one central focus for the audience to latch onto, and since Rita ends up last and with the biggest drama around her interactions with Sabra, it should be Rita.

So, once again, a film almost works but is held back by the writing. Corman shows his craft once again, though. I was struck by a series of shots late in the film with a group of girls advancing on Sabra with matching, opposite camera movements that really complimented each other. That feels like something he just came up with on the day because it looked good and he could pull it off quickly, and it works.

So, another middling overall effort that could have been more had Corman allowed more time to further address issues with the script. I really wish he would slow down, but I am getting towards the end of 1957, the year he released eight films. Hopefully the slowed output of 1958 will show the kinds of care and attention he needs to take things up just that one more notch.

I expected this story (about a female sociopath in college) to be bad-good. Surprisingly it was just good! Susan Cabot gives a very strong performance in the lead. She shows the pain of the lead character who ruins people's lives but can't understand why. It's very short (60 minutes) and moves quickly. Not a hard-hitting expose on sociopaths--just an interesting little film about them. Worth watching.