Of the many timeless American classics, “Sounder” and “The Learning Tree” are both cinematic gems. “Sounder” is set against the backdrop of rural Louisiana during the Great Depression, It’s a tale of family bonds and a loyal canine companion.
The 1972 film is based on the award-winning novel of the same name by William H. Armstrong, first published in 1969. Armstrong’s novel was inspired by his own experiences growing up in the South. The story centres on the Morgan family, African-American sharecroppers struggling to make ends meet. The father, Nathan Lee Morgan (played by Paul Winfield), works with his wife Rebecca (Cicely Tyson) and their three children. Despite their hardships, the Morgans find solace in their unwavering love for one another and their unyielding faith in the promise of tomorrow.
The film’s narrative unfolds with quiet tension as racism looms over the Morgan family’s daily existence. Set during the Jim Crow era when the enforcement of racial segregation laws in areas of public life, effectively created a separate and unequal society for Black Americans. Economically, some Black Americans were disadvantaged, facing limited job opportunities, lower wages, and restricted access to education and housing.
In the Jim Crow era, particularly in the South, there were instances where African Americans were detained in labor camps (legally or illegally) as a means of exploiting their labour. Often referred to as convict leasing camps they were unfortunately part of a broader system of racial control and economic exploitation that targeted Black individuals, primarily men, who were accused of petty crimes or simply for being in public spaces. In these camps, individuals, often arrested on trumped-up charges or for minor offenses, were subjected to conditions reminiscent of slavery. The conditions were often inhumane, with inadequate food, shelter, and medical care. Additionally, physical abuse, violence, and even torture were commonplace, as those in power sought to maintain control. I remember watching Ava DuVernay’s documentary “13TH” back in 2016, which discussed the topic of mass incarceration dating back to Jim Crow and slavery. As a lucrative enterprise for state, private companies and governments, just as slavery was, leasing convicts for labour, is a morally reprehensible practice that perpetuates systemic discrimination and maltreatment. Blacks being disproportionately targeted, lead to a disproportionate number of them being incarcerated and exploited.
The system also had devastating consequences for families as we see depicted in “Sounder”. As many individuals were separated from their loved ones for extended periods, it eroded at the social fabric of Black families and communities. While the convict leasing system officially ended in the mid-20th century, its legacy continues to reverberate in the present day.
Central to “Sounder’s” emotional resonance is the bond between the father Nathan and his eldest son, David (Kevin Hooks). As Nathan imparts his wisdom and values to his son, teaching him the importance of perseverance and dignity in the face of hardship, their relationship emerges as the emotional heart of the story. Through their shared experiences and quiet moments of tenderness, “Sounder” explores the timeless themes of fatherhood and the passage of wisdom from one generation to the next. The titular character, Sounder, is the family’s faithful hunting dog and cherished companion. Sounder symbolises loyalty, resilience, and the enduring power of love in the face of adversity. His presence is a reminder of the inherent goodness that can be found in a world full of injustice.
Visually, “Sounder” showcases sweeping landscapes and evocative cinematography capturing the vastness of the Louisiana countryside. Yet, for all its visual splendour and emotional depth, “Sounder” is ultimately a story of hope triumphing over despair. By focusing on the dignity and humanity of its characters, the movie challenges conventional portrayals of Black life on screen. It offers more subtleties than action, providing a mellowed yet engaging experience.
“The Learning Tree” directed by Gordon Parks, takes place in rural Kansas in the 1920s, where main character Newt Winger navigates the complexities of adolescence against the backdrop of racial tensions in the town. Based on Parks’ semi-autobiographical novel, “The Learning Tree” is a coming-of-age tale that explores themes of identity, belonging, and the quest for knowledge and understanding in a world marked by prejudice and injustice. While “Sounder” and “The Learning Tree” unfold in different contexts, both films share a deep commitment to emotional truth. In “The Learning Tree” Newt Winger finds refuge and guidance in the wisdom and love of his parents and community.
In the late 1960s, amidst growing calls for diversity and representation, a new generation of black filmmakers emerged, challenging Hollywood’s stereotypical portrayals of African American characters. Among them was Gordon Parks, who released “The Learning Tree” in 1969, marking a significant milestone in Hollywood history as the first major studio film directed by a black filmmaker.
Despite facing distress, including witnessing the unjust killing of a friend and enduring racial prejudices in education, Newt remains determined to pursue a better life for himself and his family. Through Newt’s experiences, the film confronts issues of racism with nuance and compassion. One of the film’s greatest strengths lies in its portrayal of Newt’s family who, despite facing systemic oppression, remain upstanding, optimistic, and even rebellious in the face of adversity. Newt’s parents serve as beacons of strength and resilience, instilling in their son a sense of courage and moral integrity.
A memorable moment occurs at the end of the film when Newt is addressed as “boy” by the sheriff. This derogatory word reminds Newt of his marginalised status in the predominantly white society, despite his intelligence, decency, and moral courage. The term “boy” carries a dehumanising connotation, especially when used to address adult Black men. Historically, it was employed as a tool of racial subjugation and domination, serving to demean and belittle African American individuals, regardless of their age or status. In the context of American history, “boy” was frequently used by slaveowners to deny the respect and dignity afforded to white men. By referring to grown men and teens as “boys” slaveowners sought to reinforce their superiority. Even after the abolition of slavery, the use of the term persisted as a means of asserting racial dominance and during the Jim Crow era, it was commonly employed by white authority figures, such as police and government officials, to assert their power and authority over African Americans, reducing them to an inferior and subservient status. So in the context of “The Learning Tree,” the sheriff’s use of the term “boy” towards Newt underscores the deep-rooted racism even when people like his character strive to embody the virtues of moral fortitude and integrity.
Additionally, Newt’s experiences are contrasted with those of his friend Marcus. Unlike Newt, Marcus is characterised by a simmering anger born out of his difficult upbringing and the experiences he has endured. Marcus’ home life stands in contrast to Newt’s supportive and relatively prosperous family. He lives with his alcoholic, shiftless father in a dilapidated shack and the absence of parental guidance and stability exacerbates Marcus’ frustrations. His unfortunate fate in the film suggests the precariousness of Black lives in a racially hostile environment.
“The Learning Tree” and “Sounder” stand as powerful testaments to the resilience, dignity, and humanity of African Americans in the face of systemic oppression. Through the lens of Newt Winger and the Morgan family, these films offer reflections on the enduring impact of racism on individuals and families. Despite their differences in narrative and setting, both films illuminate a turbulent period in American history. I was confronted with the harsh realities that relegated African Americans to second-class citizenship, without sensationalised, gratuitous depictions.
These American classics inspire in me a continued reflection and dialogue, as we strive to shape society toward an equitable future.
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