Martin Scorsese said that if you don’t like Samuel Fuller, you don’t love cinema. Fuller said if the first few scenes don’t give you a hard-on you might as well throw it in the garbage. Me, I say if you don’t walk away from a Fuller film either loving or loathing it you might as well be brain-dead. This is my favorite film of his, which makes a great double-feature with his previous film (and fellow pulp masterpiece) SHOCK CORRIDOR as a scathing, exciting indictment of the American Dream. After what gets my nomination as the greatest opening scene ever made, we follow ex-prostitute Kelly (the great Constance Towers, who never achieved the stardom she had the guts to receive) as she tries to rehabilitate herself into society by becoming a nurse for crippled children, only to find out that no matter where she goes, something will always have its dirty secrets and she is doomed to never find the peace of mind she wants. Of course, it’s hard to write about this film or why Fuller’s direction is so dividing—you just have to see it to experience it.