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Summertree
Movie Poster
Directed byAnthony Newley
Screenplay by
Based onSummertree
by Ron Cowen
Produced byKirk Douglas
Starring
CinematographyRichard C. Glouner
Edited byMaury Winetrobe
Music byDavid Shire
Production
company
Distributed byColumbia Pictures
Release date
  • June 9, 1971 (1971-06-09) (New York)[1]
Running time
89 minutes
CountryUnited States
LanguageEnglish

Summertree is a 1971 American drama film directed by Anthony Newley, about a young man who drops out of university, falls in love with an older married woman, and contemplates dodging the draft to avoid serving in the Vietnam War. The screenplay was written by Edward Hume and Stephen Yafa, based on the 1967 play of the same name by Ron Cowen.[2]

Plot

[edit]

In 1970, 20-year-old Jerry (Michael Douglas) visits his parents Herb (Jack Warden) and Ruth (Barbara Bel Geddes) to tell them he is considering dropping out of university to find himself. His parents are worried, not only because they have wasted expensive tuition on Jerry, but also because the Vietnam War is raging and by dropping out, Jerry will lose his student draft deferral.

Inspired by a television advertisement, Jerry becomes a Big Brother to a black child named Marvis (Kirk Calloway). When Marvis is slightly injured in a fall, they visit a hospital where Jerry meets a nurse named Vanetta (Brenda Vaccaro). Jerry and Vanetta soon fall in love, despite Vanetta being older than Jerry, and they begin living together. Jerry accidentally discovers an autographed photo of Vanetta declaring her love to a man named Tony (Bill Vint). Vanetta explains that Tony is her husband and they separated two years ago, although they are not divorced.

Jerry follows through on his plan to drop out of university. Confident in his self-taught guitar playing, he auditions for the conservatorium and gets a regular paying gig playing at a local coffeehouse. Herb discovers that Jerry has dropped out when he receives Jerry's draft notice in the mail. Jerry is initially not worried because he expects to be accepted to the conservatorium, which would restore his student draft deferral. Unfortunately, despite his impressive audition, the conservatorium rejects him for lack of any formal musical training. He investigates other ways to evade the draft, to no avail.

Jerry's streak of bad luck continues when Marvis's older brother is killed in Vietnam and Marvis takes his anger out on Jerry, ending their relationship. Next, Tony, having just returned from Vietnam wearing his Marine uniform, comes to Vanetta's apartment while she is out, and tells Jerry that Vanetta promised to wait for him. When Vanetta comes home, Jerry leaves to let her and Tony deal with their personal issues. Jerry buys an old Ford Falcon and plans to flee to Canada to evade the draft. Vanetta, torn between Tony and Jerry, decides not to accompany Jerry to Canada.

The night before Jerry is supposed to report for his induction physical, he visits his parents to tell them he is going to Canada and to say goodbye. After a family argument, Herb appears to accept his decision, but urges him to have his car inspected for safety at the local gas station the next day, and even buys him a set of new tires. While Jerry looks at some road maps, he overhears Herb attempting to bribe the gas station mechanic to disable Jerry's car so it cannot run for a few days, in order to prevent Jerry's departure. Jerry bursts into tears and drives his car out of the station into another car being towed by a tow truck.

In the final scene, Herb and Ruth go to bed as their bedroom television broadcasts news footage of action in Vietnam. As they close their eyes, the television shows a close-up of a dying Jerry being carried away by fellow soldiers.

Cast

[edit]

Production

[edit]

Michael Douglas had been cast in the original play on Broadway but was fired from his role and replaced with David Birney. His father Kirk Douglas bought the rights to the play and filmed it with his son in the lead he lost.[3]

The title refers to a tree house that Jerry returns to sit in.

During the low-budget production, Brenda Vaccaro and Michael Douglas initially shared the same trailer, then began a six-year relationship.[4] She guest starred twice with him in The Streets of San Francisco, playing a rookie cop in season 1, episode 15, and a hit-woman in season 3, episode 2, during that time.

Critical reception

[edit]

Roger Greenspun of The New York Times did not care for the film:

Summertree is a bad movie, but its badness proceeds not from its intentions, which seem honorable, or from its stylistic analogies to past modes, which in different hands could have been interesting. The badness exists, rather, moment by moment, in the insufficiency of each acted scene, in the niggling insecurity of Newley's camera, in the improverishment of each evocation of a quality of life—from the boy's dull guitar playing, which is supposed to be great, to the father's love of hunting, which should recreate the landscape, but only signifies a thoughtless and cruel pastime.[5]

The Variety reviewer wrote "Newley brings individual scenes beautifully to life, with Douglas clearly defining his role as the personable-but-self-centered hero. Miss Vaccaro, despite the character's indecisiveness, is charming. The two of them make their love story fresh and believable."[6] Gene Siskel of the Chicago Tribune gave the film 2 stars out of 4 and called it "occasionally moving," but found the relationships to "lack believability" and the ending "an ironic statement that is decidedly out of place."[7] Richard Combs of The Monthly Film Bulletin wrote that Michael Douglas' performance "has an energy and vitality that gives an edge to the theme of wasted youth. Other elements in Summertree blend less successfully—the contrived spontaneity of Jerry's romance with Vanetta and the fragmentary treatment of his relationship with the negro boy. Anthony Newley's direction, however, is surprisingly unselfconscious and responsive to a talented cast, though there is little he can do with the over-neat tying together of all the ironies in the last half hour."[8]

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Summertree

View on Grokipedia
from Grokipedia
is a play written by American dramatist Ron Cowen, first staged in New York on March 3, 1968. The work centers on a nineteen-year-old college dropout who, amid the backdrop of the , grapples with an impending draft notice, familial expectations, and personal aspirations, ultimately choosing between military service and exile to . Described as both a celebration of life's joys and a critique of war's futility, the play examines themes of youthful , parental conflict, and romantic entanglement with an older divorcée. Cowen's drama was adapted into a 1971 film directed by , featuring in his acting debut alongside and , with production overseen by .

Original Play

Plot Summary

The play Summertree centers on a young man approaching his twentieth birthday, depicted in a non-linear structure that interweaves his present mortal peril in with flashbacks to his domestic life. Chronologically, the protagonist leads an unstructured existence at home, more absorbed in personal pursuits like playing than in maintaining enrollment, which would qualify him for a II-S student deferment from the amid escalating U.S. military needs in during 1967. His avoidance of academic responsibilities heightens familial strain, as his traveling salesman father presses for vocational or the disciplining structure of , viewing the son's aimlessness as a failure of maturity. Tensions escalate through confrontations revealing generational divides: the father embodies traditional expectations of and confronts the son over relinquishing for artistic dreams, while the possessive yet affectionate engages in teasing, protective exchanges that underscore emotional dependency. The young man shares lighthearted, intimate moments with his girlfriend, evoking college-era levity amid broader uncertainties, but these do not resolve his internal conflict over evading or embracing —options including Canada flight or continued deferment were viable for many peers, though he rejects them. Opting instead to enlist voluntarily, he deploys to , where battlefield scenes culminate in his fatal wounding. In his final moments, leaning against a tree that mirrors the backyard "summertree" of his youth, the reflects on these events, confronting a spectral soldier version of himself and recognizing the irreversible cost of his choices, as his father belatedly grasps the hollow triumph of enforced discipline. The narrative arc traces this path from suburban indecision to wartime demise, framed by the 's introspective monologues.

Characters and Structure

The play centers on the Young Man, the and archetypal figure of youth adrift in personal and societal flux, depicted as intellectually capable but chronically indecisive, prioritizing unstructured pursuits like and leisure over conventional paths such as completion, which precipitates his draft vulnerability and enlistment. His choices illustrate individual agency yielding unintended consequences, from familial tensions to battlefield mortality. Supporting characters reinforce this through relational dynamics: the , an overprotective figure whose indulgence facilitates the protagonist's evasion of accountability; the , embodying disciplined, duty-bound traditionalism as a working-class provider urging practical stability; and the , his girlfriend, representing ephemeral romantic idealism amid his aimless drift. Complementary roles include the Boy, a neighborhood youth functioning as a surrogate sibling or younger self, mirroring the protagonist's unresolved immaturity, and the , who interjects war's stark immediacy to underscore external pressures on personal trajectories. Dramaturgically, Summertree employs a non-linear framework anchored in the Young Man's dying reflections in , blending fragmented flashbacks, introspective monologues, and direct audience addresses to delineate causal linkages between domestic indecision, relational enablement, and irreversible enlistment. This stream-of-consciousness form prioritizes internal psychological causation over chronological exposition, revealing how incremental choices compound into fatality. The sparse ensemble of six roles—three male adults, two female adults, and one boy—fosters concentrated realism, eschewing ensemble spectacle for probing interpersonal and intrapersonal drivers of outcome.

Themes and Symbolism

The play examines the conflict between personal autonomy and the demands of responsibility, portraying Jerry's dropout and pursuit of music as an assertion of freedom that directly erodes his draft deferment, culminating in enlistment and rather than deliberate anti-war heroism. This sequence illustrates causal consequences of evading structured obligations, where unstructured idleness amplifies vulnerability to compulsory service, contrasting romanticized self-expression with pragmatic adult duties. Familial dynamics serve as a microcosm for broader societal shortcomings in fostering accountability, with parents enabling Jerry's aimless drift through permissive support, mirroring how proliferated amid lenient enforcement—over 210,000 men accused by Selective Service, yet prosecutions remained limited, with only around 6,800 convictions from 1964 to 1972. Such enabling delays confrontation with reality, as Jerry's unresolved —fueled by generational indulgence—propels him toward fatal choices, underscoring how avoidance of compounds personal and collective risks. The titular "summertree" evokes transient , representing a brief phase of and that ignores inexorable cycles of growth, decay, and renewal, much like seasonal trees that flourish then shed leaves under natural imperatives. This imagery critiques idealized evasion of life's binding structures, where pursuits neglect temporal and biological pressures toward maturity and contribution. While the conveys genuine over war's toll, it highlights, through Jerry's arc, the first-principles necessity of balancing individual desires against communal defense mechanisms, without which societies falter against existential threats.

Production History

Premiere and Broadway Run

Summertree received its first staged readings and development at the National Playwrights Conference in , during the summer of 1967, where Ron Cowen, then a graduate student in his early twenties, worked with director and actors on an initial script of approximately 130 pages. The play opened on March 3, 1968, at the Repertory Theatre of Lincoln Center in , under the auspices of the Lincoln Center Repertory Company. This production featured a minimalist staging that contributed to its intimate, non-commercial appeal amid the competitive scene of the late . The original cast included in the lead role, earning him a Theatre World Award for his performance, and in a supporting role. Directed as part of Lincoln Center's repertory efforts to showcase emerging works, the production ran for a limited engagement, reflecting the era's focus on workshop-developed plays rather than extended commercial viability. Cowen's background in academic and conference settings, including this O'Neill workshop, underscored the play's origins in institutional theater development programs rather than traditional Broadway pathways. No transfer to Broadway occurred, distinguishing it from more commercially oriented transfers of the period.

Subsequent Stage Productions

Following its premiere and Broadway engagement, Summertree saw sporadic revivals confined largely to university theaters, with no evidence of major professional regional mounts, international tours, or extended commercial runs. staged the play during the 1974–1975 academic year as part of its theater program. Lancaster Campus Theatre presented a production in 1978. These instances highlight occasional academic interest in the script for exploring interpersonal dynamics and anti-war sentiments, typically adhering to the original text without significant adaptations. Licensing rights are held by Dramatists Play Service, Inc., which charges a performance fee of $105 per show—a rate consistent with niche, low-volume usage rather than mainstream viability. The scarcity of documented post-1970s professional revivals further indicates limited enduring stage traction beyond educational contexts.

Film Adaptation Development

In March 1968, , the company founded by , acquired the film rights to Ron Cowen's play Summertree, shortly after its premiere. This acquisition marked the first project under a new production agreement between and . The screenplay was adapted by Edward Hume and Stephen Yafa, who restructured elements of Cowen's original work to suit cinematic presentation while retaining its focus on interpersonal and societal tensions. served as producer, selecting to direct, with his son cast in the lead role—a decision influenced by Michael's prior portrayal of the character in an early professional production of the play. This marked 's feature film debut. Principal photography took place in 1970, emphasizing contained, dialogue-heavy sequences to preserve the intimacy of the source material's chamber-drama style over expansive action elements. The film was released by in June 1971, following the but amid ongoing U.S. military involvement in prior to significant troop drawdowns.

Film Version

Casting and Direction


The 1971 film adaptation of Summertree was directed by , an English actor, singer, and songwriter renowned for his work in musical theater, including co-writing and directing the 1961 production Stop the World – I Want to Get Off. Newley's selection as director marked his only solo effort, shifting from spectacles to a more contained dramatic narrative focused on personal and familial tensions amid the draft. His background in musical performance influenced the inclusion of subtle auditory motifs, though the score was composed by , with Newley's oversight emphasizing introspective character moments through cinematography rather than expansive action sequences. Michael Douglas was cast in the lead role of Jerry McAdams, the college dropout grappling with draft avoidance and life choices, marking Douglas's feature film debut at age 26. Fresh from earning a B.A. in drama at the in 1968 and subsequent acting studies in New York, Douglas brought an unpolished authenticity to the youthful , informed by his recent stage experience in the original Broadway production from which he had been dismissed. The casting exemplified , as producer —Michael's father—purchased the film rights specifically to launch his son's career following the stage firing, yet Douglas's raw delivery aligned with the character's causal chain of regret over deferred responsibilities. Supporting roles featured as Herb McAdams, the pragmatic father, drawing on Warden's established screen presence as a no-nonsense authority figure honed in over 20 prior films, including his 1957 portrayal of Juror No. 7 in 12 Angry Men. portrayed Vanetta, Jerry's older romantic interest and nurse, capitalizing on Vaccaro's recent Academy Award nomination for Best Supporting Actress in (1969), which showcased her ability to convey emotional vulnerability in complex relationships. , absent from the acting ensemble, served as producer through his , enabling the familial dynamic off-screen while his real-life advocacy for military service during informed the project's pro-duty undertones, though he deferred paternal casting to Warden for narrative focus.

Key Production Details

The 1971 film adaptation of Summertree was directed by , with serving as producer. Filming occurred primarily in studio settings in , supplemented by for sequences to depict combat without extensive on-location shoots. The production relied on straightforward cinematography in with monaural sound, emphasizing dialogue-driven tension over or elaborate sets. With a runtime of 89 minutes, the film was edited to maintain a concise narrative pace, focusing on interpersonal conflicts amid the era's draft anxieties, though specific post-production hurdles related to war fatigue in public sentiment are not extensively documented in production records. Distribution handled by Columbia Pictures involved a limited theatrical rollout beginning June 6, 1971, followed by subsequent television broadcasts that sustained interest among audiences reflecting on conscription experiences. The motion picture received a PG rating, aligning with its thematic exploration of youth and war without graphic violence.

Plot Differences from the Play

The film expands the romantic subplot by centering it on the protagonist's affair with an older married woman, Vanetta, incorporating strategies such as feigned medical issues, which diverge from the play's depiction of a younger girlfriend willing to marry but disconnected from his , thereby shifting emphasis from familial introspection to external romantic escapism. The death scene receives heightened visual depiction in the film, with a of the wounded being evacuated by comrades amid chaos to underscore war's brutality, whereas the play employs a symbolic, introspective framing of his demise against a , implied offstage through mental flashbacks without direct confrontation. Structurally, the film adopts a predominantly linear chronology framed by voiceover recollections from the deathbed, condensing the play's non-linear temporal shuttles and extended monologues into brisk, montage-driven sequences that prioritize visual momentum over sustained psychological soliloquies. These alterations empirically temper the play's sharper scrutiny of draft evasion—evident in its portrayal of peers fleeing conscription—by framing the protagonist's path to service as a conflicted personal choice rather than systemic entrapment, coinciding with 1971's documented surge in public disillusionment, where Gallup polling indicated 61% of Americans deemed U.S. entry into the war a mistake.

Reception and Analysis

Contemporary Critical Response

The Off-Broadway premiere of Summertree on March 3, 1968, elicited mixed reviews, with praise centered on its intimate exploration of a young man's confrontation with the Vietnam draft. The New Yorker lauded the play as a "quiet, unpretentious" work by 22-year-old Ron Cowen, highlighting its "direct, honest, funny, and human" qualities in scenes alternating between past domestic life and battlefield death. However, the production's brief run underscored its limited commercial traction, closing after a modest engagement that failed to secure major awards or extended Broadway transfer. Some critics found the dialogue poignant in depicting familial tensions over duty and evasion, while others dismissed elements of the youthful protagonist's angst as maudlin and insufficiently rigorous. The 1971 film adaptation fared poorly with contemporaries, averaging 5.8 out of 10 on from aggregated user assessments. Major outlets like issued negative verdicts, faulting its overall bland execution despite an anti-conscription core. Anthony Newley's direction drew specific rebuke for a listless pace that diluted the stage original's tension, though Michael Douglas's lead turn as the indecisive dropout was noted as a promising screen debut amid the familial strife. returns remained unremarkable, with no significant domestic gross tracked, mirroring audience fatigue amid escalating coverage. Reviewers diverged on the script's draft critique—some endorsing its dovish leanings, others pointing to the ironic affirmation of voluntary enlistment as mature resolve—yet consensus held the adaptation's dramatic inertia as a core flaw.

Long-Term Evaluations

In academic contexts, Summertree has maintained modest interest as a representative work of American playwriting, particularly for illustrating generational tensions amid the Vietnam draft, with inclusions in surveys of the era's drama. It appears sporadically in university productions, such as Wright State University's 1974–1975 staging and Lower Columbia College's archival listings, suggesting occasional use in drama curricula focused on mid-20th-century social themes. However, its absence from major anthologies underscores a perceived datedness tied to specific historical anxieties, limiting its integration into broader literary canons. The 1971 film adaptation, initially a box office disappointment, has cultivated a cult following in subsequent decades, buoyed by Michael Douglas's early lead role and intermittent availability on television and streaming services. Retrospective appraisals value its snapshot of draft-era youth but highlight structural pacing flaws that hinder rewatchability for modern audiences. The scarcity of further adaptations beyond this single screen version points to diminishing cultural resonance, with no major revivals or reinterpretations documented after the 1970s. User-generated metrics reflect niche endurance: the play script earns a 4.1 out of 5 rating on from 15 reviews, indicating specialized appreciation among enthusiasts rather than mass appeal. Scholarly reconsiderations often praise the work's foreshadowing of akin to later-recognized PTSD in veterans, yet critiques note an analytical gap in addressing the protagonist's voluntary enlistment, prioritizing familial and societal coercion over individual choice in causal depictions of enlistment outcomes. This selective emphasis contributes to its marginalization in ongoing literary discussions.

Political and Cultural Interpretations

Summertree has been interpreted through contrasting political lenses, with left-leaning analyses framing it as an that critiques as an immoral imposition on individual , portraying draft resistance as a heroic stand against state coercion. This reading aligns with broader countercultural narratives that normalized evasion as moral courage, often overlooking the voluntary enlistment of approximately two-thirds of U.S. personnel who served in , totaling around 2.7 million Americans, many motivated by a of national duty amid perceived communist aggression. Right-leaning counters emphasize the protagonist's exercise of agency in confronting enlistment, interpreting the as a against dropout culture's causal links to personal and familial disintegration, rather than a blanket endorsement of . Empirical data supports this by highlighting that while 1,857,304 men were drafted during the Vietnam era, evasion contributed to societal fractures, including over 200,000 who fled to and faced lifelong stigma or regret, contrasting with the resilience demonstrated by the majority who served. The play's ambiguity—neither fully glorifying resistance nor war—invites debate on whether it sentimentalizes avoidance without grappling with communism's tangible threats, such as the domino effects post-1975, where South Vietnam's fall precipitated communist takeovers in and , resulting in millions of deaths under regimes like the . Culturally, Summertree occupies a minor place in the Vietnam literary canon, reflecting familial tensions where parental expectations of clashed with emerging , yet ultimately underscoring the causal weight of unresolved evasion on individual trajectories amid geopolitical realities. Pro- perspectives, less amplified in academia due to prevailing biases toward anti-war , argue the work implicitly validates service as a pathway to maturity, countering narratives that downplay the war's strategic rationale against Soviet-backed .

Historical Context

Vietnam War and the Draft System

The U.S. administered during the era, classifying men aged 18-25 into categories such as 1-A for those available for unrestricted , with deferments available for full-time students (II-S) or cases of extreme family hardship (III-A). Local draft boards prioritized inductions by age—oldest first—until the of 1967 introduced random selection priorities, followed by the first national lottery on December 1, 1969, which assigned numbers to birthdates for men turning 19 that year to determine call order. From August 1964 to February 1973, approximately 27 million men were eligible for the draft, with 1,857,304 ultimately inducted into service. U.S. military escalation in Vietnam stemmed from North Vietnamese aggression against , including cross-border incursions and support for the insurgency, framed as a necessary response to contain Soviet- and Chinese-backed communist expansion under the , which posited that the fall of could trigger successive losses across . The on August 2, 1964, involved North Vietnamese torpedo boats attacking the USS Maddox in , prompting to pass the on August 7, authorizing President Johnson to repel further aggression and leading to sustained U.S. combat operations. This policy aligned with post-World War II strategies, as evidenced by the successful non-communist model in , where U.S. intervention halted Northern aggression without full-scale conquest. The conflict resulted in 58,220 U.S. fatalities from 1961 to 1975, per official Defense Department records, with prosecutions numbering around 210,000 but convictions limited to about 8,750 due to prosecutorial focus on high-profile cases rather than widespread enforcement. The upheld the draft's constitutionality, drawing on precedents like the 1918 affirming Congress's war powers under Article I, Section 8, without invalidating Vietnam-era conscription. While fell in 1975, U.S. involvement arguably forestalled broader regional communist dominance, as , , and the remained non-communist, contrasting with unchecked aggression elsewhere.

Societal Debates on Conscription and Duty

Proponents of during the Vietnam era argued that it embodied a collective duty essential for national survival against communist aggression, ensuring broad societal participation rather than reliance on volunteers who might skew toward lower socioeconomic groups. This view held that the draft's system, implemented on December 1, 1969, for men born between 1944 and 1950, promoted empirical equity by randomizing selection based on birth dates, mitigating prior deferment abuses that favored the affluent and educated. In contrast, the shift to an all-volunteer force after , 1973, initially strained , with enlistments dropping sharply amid post-war disillusionment and requiring pay hikes and incentives to stabilize forces, underscoring the draft's role in rapidly scaling manpower for existential threats. Opponents framed the draft as an infringement on individual liberty, akin to coerced labor that prioritized state imperatives over personal autonomy, with evasion often justified through moral opposition to the war's perceived illegitimacy. However, such absolutist stances frequently overlooked causal realities, including North Vietnamese initiation of hostilities and the draft's selective application—over half of eligible men received deferments or exemptions—while evaders' later accounts, as in surveys of expatriates, revealed minimal widespread regret but highlighted disrupted lives and legal barriers for some returnees. Verifiable outcomes indicate that , for many draftees, fostered discipline and resilience, with longitudinal veteran data showing positive adaptations despite hardships, whereas evasion correlated with socioeconomic advantages but not superior long-term equity. Debates pitted pro-war hawks, who emphasized the draft's necessity for deterring aggression, against doves whose protests gained media amplification, particularly after the 1968 , where coverage emphasized setbacks over tactical U.S. victories, accelerating opinion shifts. Public support for involvement peaked at around 61% deeming entry non-mistaken in August 1965, eroding to below 40% by early 1968 amid such reporting, though hawkish figures like advocated robust defense postures that implicitly sustained draft readiness for credible threats. Empirical assessments privilege the draft's proven efficacy in equitable mobilization during crises over voluntary models' vulnerabilities, as post-1973 adjustments revealed higher costs and recruitment volatility without compromising core readiness long-term.

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