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Willard

Posted on April 23, 2022

Ratting out Disney: From Willard to Ratatouille

Guest Post

There are those who, growing up in the seventies, didn’t realize that Michael Jackson’s chart-topping single “Ben” was about a rat.  In 1971 one of the most successful films at the box office was Willard.  Apart from a remake in 2003, the movie fell from public consciousness despite its box-office success.  Ben (1972) was, of course, the sequel to Willard, named after the main rat in the initial film.

The lack of awareness of this connection suggests that in wider culture the influence of Willard is under-appreciated.  Consider Disney’s 2007 smash hit, Ratatouille.  Both the original Willard and Ratatouille have similar layouts and, upon close reflection, some very similar scenes.  Let’s begin with the socially awkward young man.  In Willard, it’s well, Willard.  His father started a successful steel mill that has been taken over by his shady second-in-command, Al Martin.  In Ratatouille Alfredo Linguini, a socially awkward young man, gets a job in the restaurant his father (whom he didn’t know) started.  Not only that, but the sous chef, Skinner, has taken the business over from the departed Gusteau.  Two young men are both working in their fathers’ businesses, which were unjustly taken from them.

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man looking at a rat
Posted on November 19, 2020

A Boy’s Best Friend: Willard’s coming out story

Guest Post

Bruce Davison’s turn as Willard Stiles, the vengeful misfit with an uncanny ability to commune with rodents in the 1971 horror-thriller Willard (Daniel Mann), bears obvious resemblance to Anthony Perkins as Norman Bates. Blonde hair and hammy delivery aside, he possesses the same beakish face and boyish shyness pierced through occasionally by a seething rage. His character is likewise defined by what seems to be an Oedipal maldevelopment and a solitary existence in a decrepit house, except hidden within the home’s cellar-as-subconscious is not the rotted corpse of his overbearing mother but an army of rats he has befriended and trained to do his bidding.

What precisely those rats represent was a question of consternation for some contemporary critics, notably Vincent Canby and Roger Ebert, who both panned the film while only ironically nudging toward a possible social critique. “A major urban problem,” suggests the former in his typically droll, conservative tone. Ebert comes down on a deep-seated need “to see Ernest Borgnine eaten alive by rats.” Given the legacy of Psycho (Alfred Hitchcock, 1960) however, and Willard’s own peculiar place within the horror canon, it seems just as likely that Willard’s rats have a thing or two to say about sexual pathology. Read more

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