Willie Boy

In 1909, an Indian youth and his girl flee a posse pursuing him for killing the girl's father. (Based loosely on a true story).

In 1969, the movie was received as part of the broader counter-cultural movement then flourishing. Certainly several of the film's themes resonated with the social justice wing of the movement, and I'm sure that for leftist writer-director Polonsky the justice-for-the-Indian theme was no stretch.

Seeing the film again after 40-years, I'm struck by how generally low-key it is, despite the highly charged potential. That's particularly the case with the lovers-on-the-run (Blake & Ross). Unlike such fugitive classics as You Only Live Once (1937) or They Live By Night (1947), this version refuses to sentimentalize the lovers. Despite standard expectations, Willie treats Lola pretty harshly and all but drags her along by the hair—a far cry from the usual pathos. Nor, for that matter, is the Coop (Redford)-Elizabeth (Clark) relationship romanticized, as she treats him with general disdain while he sexually humiliates her. (I doubt this film did anything for Redford's lover-boy image.)

At the same time, none of the principals is particularly likable, certainly a departure from usual box-office appeal. Coop may sympathize somewhat with Willie Boy, but he's clearly no reformer let alone racial crusader. He is, after all, an elected sheriff with a race conscious constituency, so his reserve is at least understandable. And, for that matter, neither is Willie Boy very likable. He may be a victim in an extended sense, yet he encourages little sympathy in his headlong flight for survival. If he's meant to represent Indian plight generally, it's certainly not an emotionalized appeal. In fact, the social justice element occurs only sporadically and through biting references to Indians' lesser worth as Indians. So, by no means, is the movie's message "piled on". Note too, how Polonsky refuses to caricature the one vicious racist, Calvert (Sullivan), in the manner of many other anti-racist films.

All in all, the movie comes across as something of an oddity since it follows no particular path other than its own. Clearly, Polonsky wants to avoid the more obvious pitfalls of movies with a message, and largely succeeds, at least in my estimation. However, the caution does come at something of a price. In short, so much of the material is low-keyed that I, for one, was never drawn emotionally into the dramatic events; instead I observed them at a distance, even Willie Boy's last stand, which should have been more of a grabber. Such detachment seems rather paradoxical for a film that should have strong impact given the themes and talent involved. My guess is that Polonsky used perhaps too much caution in dealing with what is admittedly tricky subject matter.

Nonetheless, it remains an interesting film, well acted and beautifully photographed, making good use of the barren edge of California's Mojave desert. I guess my only real gripe is with whoever did Ross's Indian make-up. As another reviewer aptly observes—it looks like it was slathered on with a ladle. Then there's the long lacquered hair that threatens at times to reach around and strangle her. Those minor misfires aside, Polonsky's project remains a curious one-of-a-kind, still worth a look-see, even if it's no longer the rebellious 1960's.

the first time i saw this movie i was a pre-teen, and it always haunted me. i think it should have gotten a much higher rating also.

yes, it raises all the cross-culture misunderstandings, thats what makes it so tragic and so good. it makes you stop and think before you make that next assumption about someone you don't know....whose culture your only vaguely familiar with..not a bad thing to do today, then or anytime.

After a couple of decades on the blacklist Abraham Polonsky returned to mainstream cinema with a Romeo&Juliet type story. The Mojave Desert don't look a lot like medieval Verona, Italy but the story is the same.

The title role of Tell Them Willie Boy Is Here is played by Robert Blake who is a Paiute Indian kid who by their tradition kidnaps the women of his intentions Katherine Ross to make her his bride. It's their way of courtship, but when Ross's dad objects he's accidentally shot and killed by Blake.

Ironically with a good lawyer Blake might have gotten off. But Paiute Indians usually don't get good lawyers and they don't take to confinement. Still this incident might have gone unnoticed but for the fact that the sitting president of the USA in 1909 one William Howard Taft was visiting the area. That brings in the national media and blows up the story.

Robert Redford plays the sheriff charged with bringing in Blake dead or alive. He never played quite the roughneck character he does in this film than in any other work I can recall. Susan Clark plays the doctor on the Paiute reservation who has her views routinely ignored as she's mansplained on a regular basis. She also has her needs fulfilled by Redford as both are the best of what's out there in their corner of the world.

It's Blake and Ross who really capture your attention. I'm sure that William Shakespeare would have seen so readily the parallels between his timeless classic and what Blake and Ross are all about.

TELL THEM WILLIE BOY IS HERE has top-notch color photography by Conrad Hall, a thinking man's script that is character driven, and good performances all around by a cast that includes ROBERT REDFORD, ROBERT BLAKE, SUSAN CLARK, BARRY SULLIVAN and KATHARINE ROSS. But it's a lumbering tale that takes a good hour before the dust begins to settle and we get some action along with the character development of both Blake and Redford.

Every scene is painfully slow in getting to the payoff so that the film seems a lot longer than one hour and thirty-six minutes. The first hour is devoted to the manhunt for an Indian killer (Blake) and then the plot involves the arrival of President Taft in 1909 California and the effort to protect him from any kind of assassination attempt.

Redford's role as the reluctant sheriff is never too clear since he's a man of a very few words (a regular Gary Cooper type), so it's up to Blake to carry much of the film and he does. He's terrific as the Indian lad who's trigger happy when the posse starts getting too close.

The last twenty minutes should have been a model of suspense as they close in on Willie Boy, but it's allowed to drag out interminably.

Summing up: Character driven tale had the potential to be a fine western, but badly paced direction of Abraham Polonsky is no help nor is the sluggish script. Film was released after BUTCH CASSIDY AND THE SUNDANCE KID put Redford on the map but was never a big box-office success.

I guess the cable companies have rediscovered this film in light of Robert Blake's legal woes. And I'm glad they did. It's an extraordinary example of filmmaking. Though not w/o its share of mistakes & weaknesses, they are all honestly come by.

The film covers several genres & comments upon them in interesting ways: it is a Western w. conventional themes (turned upside down & inside out) of Indian savages vs. white civilizers; it is a historical drama that chronicles the rise to power of the industry elites in late 19th century CA. (illustrated in the subplot of Pres. Taft's visit to the Riverside Inn). While this is a Western, it might be better termed an anti Western. Every character (including Blake's Indian) is weak, vacillating & morally changeable, which makes for a wonderfully complex tale.

Blakes dialogue gives us the film's title: "Well, at least they'll know that Willie Boy was here." He says this in responding to Katherine Ross' comment asking why he is willing to keep running, even though the whites will eventually trap & kill him. This scene conveys the film's elegaic tone about the death of the "romantic" West & the rise of the homogenized, white, industrial CA. that would arise in the 20th century. Willie is compelled to stand up for his own individuality even though in actuality few will mourn his passing & even fewer remember that "he was here." But Polonsky, the filmmaker, tells us that someone will indeed remember Willie beyond those tracking him down & exterminating him: Polonsky himself & the viewers of the film. Really cool stuff!

Another powerful layer of history is Abraham Polonsky's involvement. As a Hollywood 10 member, the script seems to comment indirectly on the Hollywood Blacklist era. Blake the hounded Indian is much like the renegades of the Hollywood 10. Willie Boy tries to stand up for the principle of honor & freedom in the face of insurmountable social odds. Yet, he is never seen as a romanticized or one sided character. Even Willie Boy is pig headed, monomaniacal and self-destructive.

I think Blake does a great job in this role. It makes you remember how good he could be in film roles (remember "In Cold Blood?") before "Baretta" came along. And it makes you weep for his recent descent into hell & wonder at what might have been if his life & career had taken diff. turns.

I didn't mind Katherine Ross as much as some viewers. She was much less bothersome & stereotypical than in some of her other roles ("The Graduate" & "Butch Cassidy"). During the film I was actually realizing how much I liked her in her role which surprised me.

I highly recommend this film.