Roger Corman's work both as a director and a producer has often been characterized as exploitation, quickly and cheaply produced product that promised some cheap thrills – be they violence or sex – for the theater-goers' admission. It was certainly not an accusation he would ever shy away from. But that didn't mean that he didn't ensure that there wasn't at least a certain level of craft to be found in his films. And sometimes, even a bit of art sneaks through the process.
Such is the case with “Boxcar Bertha,” the second feature from filmmaker Martin Scorsese. Corman was looking for something that could serve somewhat as a sequel to his recently released “Bloody Mama” when his wife discovered the fictional account of a woman who rode the rails of the South during the Depression. The story and resultant film had more than a few echoes of