Title: THE LEARNING TREE
Year of Release: 1969
Director: Gordon Parks
Genre: Drama, Coming of Age
Synopsis: A young black man's coming of age in 1920s Kansas.
Within a film history context: Films with African-American families as protagonists have appeared in many instances in cinema over time. One of the first in this vein was Douglas Sirk's IMITATION OF LIFE (1959). Contrasting a white woman's relationship with her daughter to that of an African-American woman's with her daughter, much of the drama centred around the black daughter's refusal to admit she was African-American. At the other end of the spectrum was Daniel Petrie's A RAISIN IN THE SUN (1961). Starring Sidney Poitier, it was about a family who was to receive an insurance payout, but this was a mixed blessing for the family due to disagreement about how it should be used. In addition to these films, the 1970s brought further interesting depictions of African-American families in film.
Martin Ritt's SOUNDER (1972) was a splendid drama examining the effects on a family of the father stealing bread, and being sent to a work gang. CLAUDINE (1974), directed by John Berry, was the romance of a garbage collector who falls for a single mother of six children, with dramatic and comic results. Another film dealing with an African-American family was Horace Jackson's TOUGH (1974). In this film, a young boy rails against his home life, particularly his mother and stepfather, seeking to find his identity. THE LEARNING TREE had some thematic elements in common with these films, SOUNDER in particular, but, deviated from these movies in certain ways.
THE LEARNING TREE, as with SOUNDER, had a young male lead as its protagonist, but, was decidedly more adult in its intentions. While SOUNDER had a more family-oriented, inspirational tone, THE LEARNING TREE dealt with issues such as death, murder, jealousy, sex, miscegenation and racism in a freer manner, the lead experiencing more angst overall than the teenager in SOUNDER. Newt in THE LEARNING TREE endures rivalries with both Marcus and Chauncey, while SOUNDER's David Lee does not have anyone who tests his mettle, only life events themselves. As with SOUNDER, there is the interaction of both white and black characters in all aspects, with the focus largely on a single black family. In all, THE LEARNING TREE was a particularly full-blooded movie compared to previous examples in terms of narrative events and scope, and, as with the other films, did have its heart in the right place.
Within a film history context: Films with African-American families as protagonists have appeared in many instances in cinema over time. One of the first in this vein was Douglas Sirk's IMITATION OF LIFE (1959). Contrasting a white woman's relationship with her daughter to that of an African-American woman's with her daughter, much of the drama centred around the black daughter's refusal to admit she was African-American. At the other end of the spectrum was Daniel Petrie's A RAISIN IN THE SUN (1961). Starring Sidney Poitier, it was about a family who was to receive an insurance payout, but this was a mixed blessing for the family due to disagreement about how it should be used. In addition to these films, the 1970s brought further interesting depictions of African-American families in film.
Martin Ritt's SOUNDER (1972) was a splendid drama examining the effects on a family of the father stealing bread, and being sent to a work gang. CLAUDINE (1974), directed by John Berry, was the romance of a garbage collector who falls for a single mother of six children, with dramatic and comic results. Another film dealing with an African-American family was Horace Jackson's TOUGH (1974). In this film, a young boy rails against his home life, particularly his mother and stepfather, seeking to find his identity. THE LEARNING TREE had some thematic elements in common with these films, SOUNDER in particular, but, deviated from these movies in certain ways.
THE LEARNING TREE, as with SOUNDER, had a young male lead as its protagonist, but, was decidedly more adult in its intentions. While SOUNDER had a more family-oriented, inspirational tone, THE LEARNING TREE dealt with issues such as death, murder, jealousy, sex, miscegenation and racism in a freer manner, the lead experiencing more angst overall than the teenager in SOUNDER. Newt in THE LEARNING TREE endures rivalries with both Marcus and Chauncey, while SOUNDER's David Lee does not have anyone who tests his mettle, only life events themselves. As with SOUNDER, there is the interaction of both white and black characters in all aspects, with the focus largely on a single black family. In all, THE LEARNING TREE was a particularly full-blooded movie compared to previous examples in terms of narrative events and scope, and, as with the other films, did have its heart in the right place.
Overview: Gordon Parks was a photojournalist for Life magazine who began directing films in the late 1960s. Among his most notable movies are two films in the Shaft franchise, SHAFT (1971) and its sequel SHAFT'S BIG SCORE! (1972). A combination of Blaxploitation, crime, and heady action, these films were successful at the box office, opening the door to further movies with African-American protagonists. Mr Parks also directed another crime/action film, THE SUPER COPS, in 1974, and presented the biography of blues singer Huddie Leadbetter, LEADBELLY, to audiences in 1976. THE LEARNING TREE, his first full-length feature film released in 1969, was his most prestigious motion picture.
An adaptation of Mr Parks' semi-autobiographical novel published in 1963, outlining his experience as a teenager in 1920s Kansas, this is a beautiful, solemn film that captures a time in the world as seen through the eyes of lead character, Newt. The narrative unfolds in a leisurely but intriguing manner, the director guiding his characters through the events in the story in an assured way. Mr Parks has explored a number of themes in an honest way, such as family, first love, and, most importantly, racism. The relationships between white and black people in THE LEARNING TREE are variously respectful, tense, and, at times, utterly wrought with difficulties. Despite these positive qualities, the handling of the story by the director has, though, both its advantages, and disadvantages.
Mr Parks has, on the one hand, delivered a story that maintains a concentration on its lead protagonist, Newt, and does not deviate from this. While this is an admirable move, having the film following this mode does take away a little from its power, marginalizing the movie as a result. It would have been fantastic to see more of the supporting characters such as the immoral Big Mabel, Silas Newhall, Judge Cavanaugh, and, in particular, Chauncey Cavanaugh, as they could have provided more dynamite action and confrontations drawn from their actions. I was expecting, for example, explosive father-son conflict between the Judge and his licentious son, in the manner of Blake and Adam Carrington's feud on DYNASTY, but, it never came to fruition. In summation overall, putting its flaws to the side, THE LEARNING TREE is a film which has substance, and is a very sound rendition of a long-ago time in American history.
Acting: THE LEARNING TREE is filled with fine performances from all its actors. In the lead role, Kyle Johnson delivers understated acting as the thoughtful Newt, a teenager with more scruples than most. A young man witnessing traumatic events which mature him as a person, his role in the film is multi-faceted. Newt is not only the son and brother but also, the rival, the victim and, the vindicator. This provides Mr Johnson with ample opportunities to display his skill, and he carries off the role beautifully. Estelle Evans is wonderful as Newt's understanding mother Sarah in THE LEARNING TREE. She underplays the role which makes her scenes with Newt, and in the movie as a whole moving, and haunting in retrospect. Alex Clarke, as Newt's rival Marcus, delivers a performance with gusto and passion, his jealousy of Newt driving him to mental instability, and criminal acts, in the film. In addition to the main actors, supporting roles have also been filled by accomplished actors who bring life to the film in their parts.
An adaptation of Mr Parks' semi-autobiographical novel published in 1963, outlining his experience as a teenager in 1920s Kansas, this is a beautiful, solemn film that captures a time in the world as seen through the eyes of lead character, Newt. The narrative unfolds in a leisurely but intriguing manner, the director guiding his characters through the events in the story in an assured way. Mr Parks has explored a number of themes in an honest way, such as family, first love, and, most importantly, racism. The relationships between white and black people in THE LEARNING TREE are variously respectful, tense, and, at times, utterly wrought with difficulties. Despite these positive qualities, the handling of the story by the director has, though, both its advantages, and disadvantages.
Mr Parks has, on the one hand, delivered a story that maintains a concentration on its lead protagonist, Newt, and does not deviate from this. While this is an admirable move, having the film following this mode does take away a little from its power, marginalizing the movie as a result. It would have been fantastic to see more of the supporting characters such as the immoral Big Mabel, Silas Newhall, Judge Cavanaugh, and, in particular, Chauncey Cavanaugh, as they could have provided more dynamite action and confrontations drawn from their actions. I was expecting, for example, explosive father-son conflict between the Judge and his licentious son, in the manner of Blake and Adam Carrington's feud on DYNASTY, but, it never came to fruition. In summation overall, putting its flaws to the side, THE LEARNING TREE is a film which has substance, and is a very sound rendition of a long-ago time in American history.
Acting: THE LEARNING TREE is filled with fine performances from all its actors. In the lead role, Kyle Johnson delivers understated acting as the thoughtful Newt, a teenager with more scruples than most. A young man witnessing traumatic events which mature him as a person, his role in the film is multi-faceted. Newt is not only the son and brother but also, the rival, the victim and, the vindicator. This provides Mr Johnson with ample opportunities to display his skill, and he carries off the role beautifully. Estelle Evans is wonderful as Newt's understanding mother Sarah in THE LEARNING TREE. She underplays the role which makes her scenes with Newt, and in the movie as a whole moving, and haunting in retrospect. Alex Clarke, as Newt's rival Marcus, delivers a performance with gusto and passion, his jealousy of Newt driving him to mental instability, and criminal acts, in the film. In addition to the main actors, supporting roles have also been filled by accomplished actors who bring life to the film in their parts.
Dana Elcar is great as the calculating, gun-happy sheriff Kirky whose actions twist the plot in shocking, and unexpected directions. His apathetic, stony reactions to certain events in the film make him a chilling villain. Richard Ward did a splendid job as the morally dubious Booker Savage, Marcus's father, his large eyes conveying either terror and malice in his scenes. As Judge Cavanaugh, Russell Thorson was just right as the empathetic judge who was powerless to enforce law due to the characters' simmering emotions, and his private demons with his own wayward son. In a small role as Chauncey Cavanaugh, David Zooey Hall makes a striking impression as the magnetic, womanizing son of Judge Cavanaugh. In the space of only several minutes Mr Hall successfully delineates the attractive but reckless Chauncey, giving the keen impression that there was a lot more to this wealthy bad boy that could have been explored than what was presented in his limited screen time.
Soundtrack: The film's theme song, utilized during the opening credits, is a sweeping piece that perfectly sets a solemn, thoughtful tone for the movie. THE LEARNING TREE's other musical pieces played throughout its running time emphasise what is taking place on screen in an appropriate, stirring, but never overpowering manner.
Mise-en-scene: THE LEARNING TREE is lushly photographed by Burnett Guffey, taking full advantage of the film's predominately outdoor scenes. The stream in which the boys swim and certain other events occur, the quiet country roads, the grassy fields, and the picnic, for example, are all captured beautifully by the cinematographer. Interior sets also work well, and express in a subtle manner about the characters and their socio-economic level.
While the family home of Newt is comfortable and warm, it can be contrasted with the more elegant residence of Judge Cavanaugh, with its expensive furniture and accoutrements. Both of these can be differentiated from the gritty, dark sets that Booker Savage and son Marcus inhabit in the film, which have a total lack of warmth, and homeliness. In addition to these, other sets such as the church interiors, and the ice cream parlour, exude veracity, adding realism and dimension to the film.
Award-worthy performances in my opinion: Kyle Johnson, Estelle Evans, Alex Clarke, Dana Elcar, Richard Ward, David Zooey Hall, Russell Thorson.
While the family home of Newt is comfortable and warm, it can be contrasted with the more elegant residence of Judge Cavanaugh, with its expensive furniture and accoutrements. Both of these can be differentiated from the gritty, dark sets that Booker Savage and son Marcus inhabit in the film, which have a total lack of warmth, and homeliness. In addition to these, other sets such as the church interiors, and the ice cream parlour, exude veracity, adding realism and dimension to the film.
Award-worthy performances in my opinion: Kyle Johnson, Estelle Evans, Alex Clarke, Dana Elcar, Richard Ward, David Zooey Hall, Russell Thorson.
Suitability for young viewers: No. Brief male and female nudity, adult themes, medium-level violence.
Overall Grade: B
Link: IMDB Page
Trailer
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