Better Late Then Never

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

.Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Here in NYC, the subway workers of the MTA who labor in the tunnels have a nickname for the rats that they frequently encounter: "track bunnies." It's a cute name that masks the fact that for most New Yorkers, the Rattus rattus is an animal that they feel should ONLY be seen down in the subway tracks, from the safe perspective of the subway platform. The sight of one of those grisly rodents anywhere else is guaranteed to engender disgust and an atavistic terror. And perhaps it was with this very knowledge that the producers of the 1971 film "Willard" felt confident that they would have a surefire hit on their hands, as did indeed prove the case. Based on the 1968 novel "The Ratman's Notebooks" by Stephen Gilbert, "Willard" was released some three years later, in June '71. I am old enough to remember how popular the film was way back when, but between this and that, was only able to catch up with it this past week...47 years later. To my great surprise, "Willard" turns out to be not nearly as grisly an experience as I had been led to believe, but still, one guaranteed to entertain; not nearly as frightening as another rat attack film that I recently watched, 1983's "Of Unknown Origin," but still fun.In the film, the viewer meets Willard Stiles--an awkward social misfit who lives with his mother in an enormous old mansion in what seems to be Beverly Hills, and played by Bruce Davison--on the occasion of his 27th birthday. His mother, Henrietta (the former Bride of Frankenstein herself, Elsa Lanchester, here in the midst of winding down her legendary career), has thrown a party for him, peopled by all her aged cronies; Willard, it seems, has no friends of his own. But that soon changes, when he notices some rats in the mansion's overgrown backyard. He ultimately trains them and brings them into the house, where they breed and multiply at a startling rate, until the entire cellar is crawling with the little beasties. Meanwhile, we get to see WIllard's work life, and it is a fairly miserable one, at that. Willard works in the iron foundry that his deceased father had started years ago, but which is now run by the man who stole that business, Martin (played by the great Ernest Borgnine in a performance that should have been nominated for a Best Supporting Actor award). Martin browbeats and torments Willard relentlessly, to Willard's increasing frustration. The viewer is tipped to Martin's miserable personality immediately by the sign that he proudly displays on his desk: "Do Unto Others Before They Do Unto You," his seeming credo in life. We also get to see Willard's clumsy interactions with the new, pretty temp in the office, Joan (played by Sondra Locke, here in her third film). Ultimately, though, after the death of his mother and after learning that Martin has designs on purchasing and tearing down his beloved home, Willard cracks, and decides to use his obedient rat army to take vengeance on Martin once and for all...."Willard," to my surprise, maintains a comparatively light, almost humorous tone for its first 2/3, during which we see Willard use his pets to cause pandemonium at Martin's outdoor anniversary party, how he gets rid of a pet cat that Joan sweetly gives him, and how he uses his rats to steal needed money from a wealthy client. Matters turn decidedly more grim, however, in that final third, when Socrates--the white-furred rat who is one of Willard's favorites--is killed by Martin in the office, precipitating Willard's retaliation. The viewer waits patiently for Martin's comeuppance, and when it finally does come, it's pretty much a doozy. But the film withholds its grisliest section till the very end, when Willard and Ben--the black-furred rat who had been another especial favorite--turn on each other back at the mansion. Remarkably, the film manages the almost impossible feat of making rats--possibly one of the most detested of all creatures--appear cute...at least in the film's first hour. Notice that I am not saying "adorable," but only cute. (Several friends of mine have told me over the years what wonderful pets these critters can make, and I have only nodded my head and said, "Yeah, sure" in response.) Kudos should go out to rat wrangler and trainer Moe Di Sesso, who trained both Socrates and Ben for their work in this film. Director Daniel Mann, who had previously helmed such classic pictures as "The Rose Tattoo," "I'll Cry Tomorrow" and "BUtterfield 8," here directs his first horror film in a fairly pedestrian manner, but yet manages to inject suspense into those final scenes. In the lead, Davison gives a fine performance as the increasingly unhinged Willard, but for this viewer, it is Ernest Borgnine who steals the film, with his seemingly effortless portrayal of the coarse and slimy Martin. What a terrific actor he could be; no wonder he was in such demand at this stage of his lengthy career! (And indeed, "Willard" was just one of six films that Borgnine appeared in that year, including "Bunny O'Hare" and "Hannie Caulder.") Remarkably, "Willard" proved so popular that a sequel, "Ben," was released in 1972, and yes, I do hope to finally catch up with that one one day soon....

I find my self in agreement in 1971 with one of my favorite actors, Ernest Borgnine. He stated in his autobiography that he chose to take his money up front rather than a percentage of the profits. This was an unknown genre and he, as I and a lot of people felt before the movie was released, thought it would not go anywhere. He probably wished he has chosen the profits but it is clear in his interviews that he was a very happy man. In this movie, Hannie Caulder, and a number of others he showed how bad a villain could be.Willard helped launch the careers of Bruce Davison and Sondra Locke. She played a really nice person in this one who was REALLY the only friend Willard had. He realized that too late.It is easy to relate to Willard since he had been bullied all of his life and was probably a misfit to start with. It is a sad condition in our culture that when someone does not fit in that those around him/her instead of reaching out will smell blood in the water and pile on and often get delight in making that person's life even worse. Why is it so important to "fit in" anyway since our decisions not to run with the crowd should be respected. Often they are told to "toughen up" but that does not always work and often, like Willard, when they "toughen up" they go to a tragic extreme. Today's solution of "safe spaces" when someone feels isolated and has their feelings hurt will only postpone facing the issue. They will find out that there are no "safe spaces" in the work place and the real world. Thank God today there is a lot more professional help available that in Willard's day (1971) Ben was caught in the middle and did not accept that Willard could not save Socrates. Also, he got mad when Willard left him and his friends in Martin's office and felt abused and abandoned. Willard taught him to use the power he had and eventually he turned on Willard.This is the first time I have seen this (41 years) it is is truly a well made and well acted movie that launched two careers, added another dimension to a well established actor who had already won an Oscar, and launched a new genre. Good job everyone and a history making movie.

Daniel Mann directed this surprise box office hit that stars Bruce Davison as Willard Stiles, a much put-upon young man who lives at home with his infirm mother(played by horror icon Elsa Lanchester), while at work in a company his late father started, he is being forced out by his loathsome boss(played by Ernest Borgnine) There is a pretty lady at work(played by Sondra Locke) who is nice, but Willard doesn't know what to say to her. His only real friend is his pet rat Ben, along with Socrates, and a growing army of rats caused by both his feeding them, and Ben's intelligence. When his mean boss kills Socrates, this sends him over the edge on a murderous campaign of vengeance that will be his undoing... Good acting and premise almost undermined by slightly indifferent direction, though this is otherwise a memorable, entertaining thriller that led to sequel "Ben".

I wildly concur with Lambiepie-2 - my L.A. horror-home-girl for life - that the command "Tear 'em up" immediately sailed into the lexicon of my favorite film lines after seeing "Willard." This flick is one of several from the early '70s that I defiantly cling to for all the thrills and laughs it gave me as a kid. I even shed a tear at the grisly demise of Socrates. I didn't see "Willard" in its original 1971 release. I was only 6 then. I caught it a few years later as part of some GP-rated double feature. Watching "Willard" decades later on a prized $35 LASER DISC, I cringed at its hokey made-for-TV pacing. However, I became a Bruce Davison fan for life because of "Willard," faithfully following him through a maze of impressively eclectic performances - from "Short Eyes" to "Longtime Companion." His gifts were so wasted in "X-Men." I, too, remember Mr. Davison paying moon-tanned "Elvira" a visit on her horror-snicker-flickers show one Saturday night to reminisce about sharing screen time with vermin - that would be the rats AND Ernest Borgnine. In all fairness, mad props are due to ol' Ernie for inhabiting the asshole you love to hate as Stanley Willard's lecherous and conniving boss.Much as I loved Crispin Glover in "River's Edge" (a haunting and disturbing film about teens finding a dead girl in the woods which also starred the luscious Ione Skye and a demented Dennis Hopper as a character named "Feck"), I could tell from the tone of the "Willard" remake's trailer alone that I would have zip-zero interest in sitting through it. I imagine Crispin was over-the-top and that the CGI-enhanced flesh eating rodents chewed up more than their fair share of the scenery AND the extras. Don't get me wrong, I'm all for splatter, menace and entrails ("The Toolbox Murders," "Don't Answer the Phone" or "The Last House on The Left," anyone), but there was a creepy, era-specific charm to the original "Willard." Bruce Davison left an indelible and unshakable impression in this - a remarkable role for his first as the title lead.Now, where can I find a copy of "The Ratman's Notebooks" to keep me up at night in the new year?!