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Warner Bros had a brigade of young contact stars and in fact their is a pic of J L Warner with most of them: Connie Stevens, Dorothy Provine, Van Williams,, Clint Walker , Natalie Wood, Edd Byrnes, Peter Brown, Ty Hardin among the many.

Diane McBain was a beautiful young actress with a penchant of getting in the gossip columns. Diane beat out a truly fine actress Shirley Knight - another WB star!-for the lead role in this film shot in black and white. WB stars Chad Everett, Robert Logan, and Robert Colbert were also in the cast. Diane plays it well as a Southern girl out to put the make on men.

Diane McBain made a few more movies such as Troy Donahue's Parrish which has Diane's opening scene sensational as the rolls out of a car and those magnetic eyes of Diane's mesmerizing! , and Raoul Walsh's A Distant Trumpet with Troy Donahue and Suzy Pleshette, with Debbie Reynolds in Mary, Mary, but left the studio rather than play a small part in WB''s big budget Sex And The Single Girl with Tony Curtis, Natalie Wood, Henry Fonda, Lauren Bacall and Mel Ferrer directed by Richard Quine. Richard Quine fell in love with Kim Novak and his films with Kim such as Bell Book And Candle, Strangers When We Meet, Notorious Landlady reveal l Kim at her most lush beauty. Diane should have done Sex And The Sungle Girl with Quine; He may have made her a great star as he did Kim.

Diane McBain proved she can act in this film. It is too bad it wasn't a bigger and better film. She plays a good girl who finds out playing by the rules doesn't guarantee you happiness. So she says to hell with the rules.

Constance Ford is perfect as the mother who feels life has passed her by. She always excelled at tough, bitter roles.

The only big disappointment for me was the harsh ending, which I won't reveal. It was all too similar to other films made in the era with its double standards of "ultimate punishment" imposed on females but never males.

"Claudelle Inglish" is a well made movie but it's also rather dark and depressing. This isn't so much a complaint--I'm just trying to let you know in case you are thinking about watching it.

Diane McBain stars as the title character, an innocent and nice young lady. However, she quickly transforms from this to a 'bad girl' in her small home town after she is jilted by her jerk of a fiancé. Now she uses men and cares little about them--in her odd attempt to punish men in general for her stupid fiancé. Since the film was made in the early 60s, it's really unclear whether Claudelle is sleeping around or if she's just a tease--but it is clear that she uses men to get what she wants. How will this ultimately lead to disaster? See the film.

The acting is very good here--particularly by Arthur Kennedy who plays Claudelle's father. Well worth seeing and very unique...but also a tad unpleasant.

Potboiler from Erskine Caldwell's novel about a Southern sharecropper's daughter, broken-hearted after being rejected by her soldier-fiancé, turning from timid girl to tramp in order to even the score. Producer-screenwriter Leonard Freeman is rather timid himself within this potentially sweaty and sinful scenario; we're never sure just how far our heroine is going sexually with the drooling males in town--or if she's just a tease (had the film been made only a few years later, it might've been a more salacious melodrama). Diane McBain is well-cast as Claudelle Inglish, and she gives a good performance, but restrictions of the era prevent her and director Gordon Douglas from exploring the character with any depth. As a result, the finale doesn't provide the emotional punch Freeman or Douglas probably hoped for. Instead of being a classic tragic figure, Claudelle merely seems guilty of being in the wrong place at the wrong time. **1/2 from ****

While her friends are marrying the local boys, Claudelle is determined to find just the right guy. And she thinks that she has. He's got a plan, and is working on it. But... as usual, life happens and upsets all her plans. So she comes up with Plan B and turns into a wild child. And now all the men in town are chasing after her. Co-stars Claud Akins, Chad Everett, Will Hutchins; Hutchins made Clambake with Elvis. Diane McBain would make Spinout with Elvis a couple years after this. Pain. Family relationships. Dreams. What makes one happy? When do you know you've realized your goals? Similar to a tennessee williams story. Based on the novel by Erskine Caldwell. He had also written God's Little Acre and Tobacco Road. Books about growing up in rough times and rough places. It's quite good,but ends on a pretty dark note.

Claudelle Inglish is one of those guilty pleasures that certain film fans. Based on an Erskine Caldwell novel, Diane McBain gets her first notice as the good girl turned town tramp because she gets a dear Jane letter from her boyfriend in the service.

McBain in the title role is first seen as a high school girl on a bus which you will note only has white students on it. She's in love with Chad Everett, but after a night together he goes off to the military. Soon she gets a letter saying he's met another girl and he's going to marry her. Brokenhearted McBain becomes the biggest tease for miles around. She's going to punish the male of the species and have a good time doing it.

Some of Warner Brothers young contract players play some of McBain's conquests, people like Everett, Will Hutchins, Robert Logan, and Robert Colbert. She's even got the older males in a tizzy like storekeeper Frank Overton who is Hutchins's father and the richest plantation owner in the county Claude Akins.

In fact Akins is really gone gaga for McBain and her new tramp look. McBain's mother Constance Ford wants her to wed Akins and get all she never could with Arthur Kennedy who is one of Akins's sharecroppers. But Kennedy maintains hopes that McBain will make a good marriage with one of the boys who is getting in her pants.

McBain finds Akins quite gross, but Akins after persistent refusals settles for second best. You'll have to see the film to know what that means.

Claudelle Inglish even got some Oscar recognition with a nomination for costume design for a black and white film.

It's also low trash, but it is deliciously low trash and a lot of people will enjoy it.

I saw this movie 35 years ago on late night TV and was totally and utterly spellbound by it -- so much so that this many years later I still remember it.

The stark quality of the movie, as shown through the dialog and other "devices" underlined the desperate nature of the characters (the fact that Claudelle knew she didn't have what she wanted but didn't know what that was or how to get it) and their suspicious natures in that someone might find what they were searching for.

A marvelous, fascinating character study. All good literature is nothing more than character study and good movies must have well-developed characters to be considered good. "Claudelle Inglish" is both.

Horny hicks and lascivious ladies seeded the loamy Georgia soil of Erskine Caldwell's imagination for decades, beginning in the early Thirties with "Tobacco Road," made into a masterpiece by John Ford in 1941 and "God's Little Acre" directed by Anthony Mann in 1958. Gordon Douglas does a good, professional job with this 1959 novel about a teenaged girl, daughter of an impoverished sharecropper, who slowly discovers, and learns to use, her sexual power over men. Diane McBain triumphs in the title role, with strong support from a good cast. There's no arguing with Mr. Caldwell, who farmed these parts for generations and spins a moving, engaging yarn.

This movie starts out appearing to be the usual b-movie shlock morality tale - and that beginning is where any similarity ends. Claudelle Inglish winds up having a place right beside movies like Showgirls and Beyond the Valley of the Dolls, just for sheer shock value.

The basic premise is familiar enough, sweet young thing is seduced and then jilted. However, nobody knows that, since her beau is not a total creep; her shameful secret is still safe from the townspeople who would label her a whore - so here's where the fun starts, since our heroine, literally overnight, decides to transform herself into the town tramp anyway. Why? Uhhh, why not?

Of course it would have made perfect sense for Claudelle to just go ahead and marry the older, unappealing rich man who all but drools on her, but that would be too easy, and it won't happen here. In fact nothing here plays out the way you would expect it to, and that is the brilliance of this film and why it is something you have to see to believe.

This is trash at its very finest, and to tell anything more about what happens after Claudelle creates her own hell would spoil everything.

Clyde Inglish (Arthur Kennedy) is a poor tenant farmer in Georgia. His daughter Claudelle Inglish (Diane McBain) and boyfriend Linn Varner seem deeply in love. She waits faithfully for Linn while he's away in the Army. Then she gets a letter from him that he is marrying someone else. Rich landowner S. T. Crawford (Claude Akins) and the Peasley brothers have their eyes set on her. Her mother Jessie never approved of Linn and would rather have her go with the rich Crawford and avoid getting married to another poor farmer like her father.

It's a southern gothic melodrama or a tragic soap opera. I wish I like this more. I wish I like Claudelle more. I don't hate her. She's a teen girl. It's all a bit broad. The morality is a little interesting, but not quite specific enough. It did get a costume Oscar nomination if that's worth anything. This could have been good character work for McBain. She is definitely beautiful, but the work is not quite top level. Maybe she should have a bigger transformation sequence from a poor country girl to town vixen. For example, she should have straight limp hair and wear frumpy work clothes early on. This is another one of those young hot things driving men crazy movies.

I think the writers/producers and director missed their period of opportunity to make this melodramatic period piece stick around for a few decades. Yes it was released in the early part of the 1960's (1961 to be exact) but it was only eight (8) years later that moral beliefs about pre-marital sex were changed forever when the 1969 Woodstock Music Festival glorified hip music, drugs and most especially free love.

Both women and men in the late 1960's and early 1970's (before Aids) felt the need to be free and uninhibited with their bodies and divorce rates climbed exponentially. Films such as 1961 Claudelle Inglish were more greatly appreciated in the previous decade of the 1950's as being informative to remind all young and virtuous ladies that all men are dirty pigs with only one thing in mind. Women who put out before marriage were looked down upon in the early 1960's and 1950's and it will only lead to a downward spiral if your virtue is jeopardized in lieu of a one night fling in hopes of trusting the man will respect you in the morning.

After watching Claudelle Inglish transform from a young seedling to a robust and ripe flower so attractive to any man's eyes only to have her wilt after successive bad decisions we witness a disappointing ending to a melodramatic young life.

Just like Claudelle Inglish herself, this film has long passed its best before date and todays women know what they want and are not afraid to speak up for themselves before it would be too late.

I give the film a rather outdated 4 out of 10 IMDb rating.

Diane McBain plays Claudelle, a young bored woman who starts whoring herself out in exchange for presents and attention after the man who proposes to her leaves for the army and then jilts her for another woman.

McBain gives a really terrific performance in the title role, as do the supporting actors around her, notably Arthur Kennedy as her rock-solid farmer dad and Constance Ford as her mom, who wants to see Claudelle avoid all the mistakes she herself made by partnering with a poor fella. They all do a decent job selling this material, even as it leans more and more into melodrama and histrionics. The story is entertainingly tawdry, even if I can't forgive it its appalling ending that sees Claudelle having to be severely punished for her promiscuity.

My biggest problem with the film is how pointless it all is. What on earth was Erskine Caldwell trying to say with the novel, or the folks who made it into a movie with the film adaptation? I guess if you approach it like a soap opera it doesn't have to have a point, but then why is everything pitched at such a serious tone?

"Claudelle Inglish" received an Oscar nomination for its black and white costume design, one of the bazillion head-scratching nominations to be found in the costume design categories throughout the 50s and 60s. For a long time there it seems like films could be nominated simply for having pretty dresses, not because the costume design made any kind of artistic contribution. The costumes in this movie are actually distracting. If Claudelle is so poor, why does she always look so nice and well dressed, like an affluent teeny-bopper from a Frankie Avalon movie?

Grade: B.

I admire this movie for its emotional commitment of many of the characters in this Southern movie. I certainly prefer this story to more sedate efforts like The Long Hot Summer. The ever increasing pace of the plot I find most welcome.

The title character as portrayed by Diane McBain gives meaning to the phrase "left to an uncertain fate."

Another nice touch here is that McBain and the characters' mother, as portrayed by Constance Ford, somewhat resemble each other.

I invite readers to check out the ending of the original Erskine Caldwell novel, which is even more outrageous than what's in the movie.

DIANE McBAIN has only one claim to movie fame besides her good looks. It is her deep-down excellent portrayal of Claudelle Inglish in this strange and sensational movie that is both dime novel trash and classic drama.

The best and most powerful subject for a grab-you movie in my opinion is the power of intense love; that power which can bring joy and true happiness. Take away (or betray) that love and a person can be turned-on-a-dime into an adrenaline-filled force of self destruction. If I told you what happens in the movie you would not believe it; but I saw this near-exact drama play out in my own neighborhood some 15 years after this movie.

Too bad my 10 star rating is virtually pointless. The critics trashed this film when it came out and Warner Bros were clueless of its merits. I have no idea how you could get a copy and see it.

The Hayes Code forced Hollywood movies to embrace the chaste, so teen romances tended to be wholesome comedies from Andy Hardy to Gidget. In 1961 there was a bumper crop, with the likes of Connie Stevens and Sandra Dee. But, as if Hollywood itself was in heat, it awarded the screenplay Oscar to William Inge for "Splendor in the Grass," a story of sexual frustration in a Kansas high school which lands one girl (Natalie Wood) in an asylum-- a melodramatic swing for the fences. Better than it by a fair margin is "Claudelle Inglish," because it is about sex, not abstinence, and is therefore more lifelike. It's also quite a tawdry tale, as a movie about disrepute should be.

Diane McBain carries the film, which is no easy task. Claudelle is more like a split personality than a coherent character, starting out as the shy, comely daughter of an almost saintly sharecropper (Arthur Kennedy) and his grimly materialistic wife (Constance Ford). Claudelle falls hard for a local boy, loses her virginity and becomes engaged, but he is soon in the army. After a year waiting for his release, she gets a 'Dear John' letter, and is devastated. Inconsolable.

Naturally, plenty of local men are eager to fill the void. Young (Will Hutchins, Robert Logan, Robert Colbert) or old (Frank Overton, Claude Akins), they begin to shower her in gifts, which light up her eyes. It starts with a coveted pair of red pumps that, like Cinderella's glass slippers, are life-changing, but not for the better. More gifts follow, more men drive off with her into the night.

It's a full 180, and it doesn't work. If Claudelle had shown a little steel emerging through her shyness in early scenes, we might be prepared for such an abrupt downfall. I won't spoil the ending, which will not surprise anyone familiar with morality tales, though the fate of Mrs. Inglish is a departure. McBain is a capable actress, and Arthur Kennedy gives one of his finest performances, but the closest I can come to recommending it is to say I'm glad I saw it. Unlike "Splendor in the Grass."

Kind of an unappetizing combo of "Peyton Place" and "Tobacco Road". And Diane McBain should be called Diane McBland. Good to see one of my favorite 50s/60s TV character actors, Claude Akins, out of TV, though, in a fairly substantial and even somewhat ambiguous role. And Constance Ford is good, as always, playing a hard bitten mom. Solid C.

Finally I caved & purchased this for $2 on youtoob movies; it was good. Not terribly great but an interesting, low radar jewel with decent pace; the pacing helped boost its appeal and keeps ya watching; Would like to see it few more times for free. Reviews are accurate-slightly predictable yet you still want to watch; cannot turn it off so sit back and enjoy the melodrama moment ; )

I remember this film from the very early '60s. In those years we saw a lot of movies at the so-called "grind houses" on West 42nd Street (on both sides of Times Square); the deal, for us, was terrific: a double feature for "never more than 99 cents!" The first film to break that price barrier was Mercouri's NEVER ON Sunday. After her amazing bitchiness in A SUMMER PLACE, Constance Ford was again remarkable in this motion picture. I feel that this film, like too many others, is nearly forgotten today. But, when graduates, with a B.F.A. in Film, Theatre and Television, can look you in the eye and confess that they've "never heard of Marlene Dietrich", what can one expect?! Another one, a 2004 NYU grad, had never heard of THE GLASS MENAGERIE. Perhaps it's not the students but the schools that are failing!

This movie is sometimes described as sleazy, but it was the advertising emphasizing the girl gone bad theme that is sleazy. She had a lot of help on the road to perdition. Constance Ford as her unhappy frustrated mother is terrific, and is a major force driving her daughter to accept gifts for her favors. Her well meaning father is no help to her or her mother, he is content being a share cropper, living in a house with no running water. Reviews rarely mention Frank Overton,and appears to be a minor character in the beginning. Starting on Broadway, he has a wonderful voice. But in this film it's his eyes that tell everything. He goes from innocuous small town shopkeeper to husband cheating with Claudel , and anguished father of a dead son. Multiple peoples bad choices lead to the destruction of 2families, not just Claudel.

FYI, Ford Rainy appears in this film as well as Last Mile, as did Frank Overton, only the roles are reversed. Watch both films for some powerful acting and a lot of anguish.