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Tell Them Willie Boy is Here
1969, new to HD
Robert Redford donned a cowboy hat and
strapped on a holster to appear in two westerns with
Katherine Ross in 1969. One of them went on to become a
box office smash and a cultural touchstone which still
appeals to modern audiences. That one, of course, was
Butch Cassidy and the Sundance Kid, a film which made so
much noise in the culture that echoes of it reverberate
still in Redford’s Sundance Institute and its eponymous
Film Festival, both of which were seminal forces in the
development of the modern indie film movement.
The other Redford western was this film, Tell Them
Willie Boy Was Here, which was truly a prisoner of its
time and, while praised
lavishly by the NY Times in its day, is
embarrassing to watch now. One of the things I enjoy
about evaluating historical films is to note how the
known facts, established in the era being portrayed,
somehow become cobbled and shaped to conform to the
attitudes of the era when the film was made. This film
is the poster boy for that phenomenon.
In 1909, the American newspapers reported breathlessly
about “the last great manhunt,” in which as many as 50
mounted and armed law enforcement officers spent about
three weeks tracking a single horseless Paiute through
hundreds of miles of the most rugged and God-forsaken
terrain that the American Southwest had to offer. Here
is the report of the San Francisco Call, written
during the manhunt, and a
summary from the Los Angeles Herald written
shortly after the hunt was over.
The facts as they were reported in 1909, and as they
were still understood in 1969, are outlined as follows:
Willie Boy, the Paiute, wanted to run away with his very
young girlfriend. He had already tried once and failed,
thanks to the efforts of her father. After a brief
absence from the girl’s area, Willie returned to claim
his woman, and he was not to be denied a second time.
Fortified by liquor, he snuck up on the father while the
old man slept, shot him dead through the eye, and ran
off on foot with the girl and his rifle. She was about
13 when he first took her as a lover, and about 14 or 15
when they ran off together.
A posse was formed and the manhunt began. About
three or four days into the pursuit, Willie killed the
girl. It is not known precisely why. It is possible that
she was not running away willingly, but was actually
kidnapped, and it became too much of a burden to both
control her and escape a posse at the same time.
It is also possible that she wanted to run away with
him, but he killed her because she could not keep up.
(Of course, those are not the only possibilities. More
on that in a bit.)
After a few days, the posse split up to cover more
possibilities. Within about a week, part of the posse
came upon Willie, who was entrenched high above the
trail within a rock formation that proved virtually
impregnable. In a brief shoot-out, Willie forced the
hunters to retreat by shooting three of their horses and
severely wounding one of the deputies. The
stalkers headed back to civilization for supplies and
medical care, while Willie sought another suitable place
to hide.
The great hunt ended in an anti-climax about two weeks
later. The posse, expanded to some fifty men, finally
came upon Willie’s new hiding place, but the fugitive
was already dead and his body was already quite
decomposed. He had saved his last bullet to kill
himself, which was no simple task with a long rifle. In
order to shoot himself under the rib cage to the heart,
he had had to remove one of his shoes so he could pull
the trigger with his toe.
This tale, portraying a cruel Native American man with a
severe drinking problem, was not suitable for the
cultural zeitgeist of 1969. The story was re-written to
be the tale of a noble, misunderstood member of an
oppressed minority.
In the film:
- Willie did not shoot the father as he slept.
Instead, the two argued and struggled for a weapon,
resulting in the old man’s death when the weapon
fired.
- Willie's drunkenness was the fault of white man's
liquor.
- The part of the 13- to 15-year-old girl was played
by Katherine Ross, who was nearly 30.
- Willie did not murder the young girl. She loved
him so much that she took her own life. She knew
that Willie would never abandon her, and that he
could not get away if he moved at her pace, so she
sacrificed herself, enabling him to go fast enough
to escape.
- One fictional member of the posse claimed to be
Willie’s roommate back at the ol’ bunkhouse, and
more or less claimed that Willie was the single
greatest human being since Abraham Lincoln.
- Willie wounded the deputy by mistake. He was
shooting only at the men’s horses, but this
particular deputy had a problem steadying a horse
which panicked in the gunfire.
- Willie did not shoot himself. He was killed in an
old-West showdown with Robert Redford. (Although it
was later revealed that Willie’s rifle wasn’t
loaded, just so audiences would know he could never
have tried to kill the lovable Sundance Kid.)
My review of the script consists of five words:
Are you fokking kidding me?
The great irony of all this faux-respect for Paiute
culture lies in the casting. Hollywood was willing to
rewrite the entire script to make Willie a misunderstood
anti-hero, and to make his lover a grown adult instead
of a girl in early pubescence, but the filmmakers were
not willing to cast Native Americans to play them.
Willie Boy was played by Robert Blake! The make-up
artist didn’t make Blake look too much darker, which was
at least a minor concession to sensible taste, but that
small bit of subtlety was totally undermined by the fact
that Katherine Ross was wearing so much blackface (or in
this case dark brownface), that she looked like Al
Jolsen. In its own time, the casting merely looked
dishonest. Viewed from our time, it looks demeaning and
downright racist.
On the other hand, in retrospect it doesn’t seem
that dishonest to cast Blake as a cruel, hot-tempered
murderer.
Tell Them Willie Boy is Here also functions on another
level that reflected the zeitgeist. The Willie Boy
character is an anti-establishment figure in an era when
everyone had to be anti-establishment to be politically
correct. It was 1969, brother man. Author/director
Abraham Polonsky said that Willie Boy symbolized an
entire generation on the run from authority, and spoke
to young people “being driven by circumstances and
values they couldn’t control.”
This is where the Deltas need to come in and start
mumbling “bullshit, bullshit, blowjob, blowjob.”
I could go on about the gratuitous love (or love-hate)
story involving two fictional characters, and other
Hollywood nonsense in the sub-plots and subtext, but why
bother? I’d be beating one of those dead horses that
Willie Boy compassionately shot to avoid killing any
humans. (What a guy!)
----
SIDEBAR: Tell Them Willie Boy is Here is based on “Willie
Boy: A Desert Manhunt,” a 1960 non-fiction novel
by Harry
Wilson Lawton which, unlike the film, stayed quite
close to the known facts. Thirty four years later, two
authors named James A. Sandos and Larry E. Burgess
allegedly debunked Lawton's work in a book called, "The
Hunt for Willie Boy: Indian Hating and Popular Culture."
Most of this book is based on the accounts of Paiutes
several generations after the fact, but that's almost
irrelevant since their great-grandparents would have not
been able to contribute much because Willie Boy fled
alone (or briefly with his girl), so nobody knew what
went on except Willie, the posse, and the dead girl. The
"debunking" is based on accounts that were second-hand
to begin with and were passed on from generation to
generation for nearly a century. We can pretty much
discount all of that as legend. Indeed, the authors
ended up being sued by Harry Lawton and revising
subsequent editions.
But their book did raise one substantial point missed by
Lawton's: the death of Willie Boy's girlfriend can be
re-evaluated using some degree of modern forensic theory
on the coroner's report. She died from a bullet that
entered her back, moved downward through her body, and
exited through the right abdominal cavity. That is
consistent with a shot fired from above at long range.
The authors speculate that it was therefore a member of
the posse who shot the girl, probably mistaking her for
Willie himself. That is speculation, but makes more
sense to me than the other possible explanations of her
death,
----
Nudity (720p):
Susan
Clark showed her butt in a love-hate scene with
ol' Sundance
Katherine
Ross showed a nipple in her love scene with
Baretta
Katherine Ross and Robert Blake were naked in a dark
scene far from the camera. (Same film clip)
==============
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