Category Archives: Penny Allen

Are All Oregonians Secretly French?

How French is Oregon?

I addressed this question in 2009, during the Oregon Sesquicentennial Film Festival. Here is the abbreviated version of my argument.

jamesb

James Blue (1930-1980) won the Critics Prize at Cannes in 1962 for his French language feature, The Olive Trees Of Justice. He was a graduate of Jefferson High School ’49 in Portland, University of Oregon ’53  in Eugene and L’Institut des hautes études cinématographiques (IDHEC) ’59 in Paris.

mise en scen

Currently, four Oregon directors are beloved by French audiences.

f-2008-03-ivory-450x216

James Ivory (Klamath Falls), 6 nominations for the Palme d’Or at Cannes. Winner of Cannes 45th Anniversary Special Award for Howard’s End (1992).

US director Gus Van Sant poses 21May 200

Gus Van Sant (Portland), 3 nominations for the Palme D’Or at Cannes. Winner for Elephant (2003). Winner of the Cannes 60th Anniversary Special Award for Paranoid Park (2007).

34th+Deauville+Film+Festival+Idiots+Angels+00Byxb16u7Tl-450x309

Bill Plympton (Oregon City), 2 nominations for the Palme d’Or at Cannes. His Idiots and Angels (2009), received theatrical release in France, and was seen all across that country. His Cheatin’ (2014) just won the Jury Award at Annecy

allen-450x293

Penny Allen’s (Portland) latest film, En Retard Pour L’Enterrement De Ma Mere (Late For My Mother’s Funeral), is a French language feature length documentary-narrative film hybrid. Like The Olive Trees Of Justice, it was shot entirely on location in Algeria, and features a cast of non-professional actors.

How French is Oregon?

pink-martini-580x389-450x301

Oregon is so French, Bill Plympton says that everyone in France accepts without question the immediate assumption that Pink Martini is a French band.

—————————————————————————————————————

This post first appeared on Anne Richardson’s Oregon Movies, A to Z, during the Oregon Sesquicentennial Film Festival at Maryhurst University in 2009. It has been amended to include James Blue. I learned of James Blue from James Ivory during his appearance at that festival.

—————————————————————————————————————-

James Blue‘s French language feature, The Olive Trees Of Justice, will be presented at the upcoming Mid Century Oregon Genius screening series at the Hollywood Theatre in Portland, Oregon. Non French language films in the series are by Harry Smith, James Ivory, and Homer Groening, the senior member of the two generation Groening dynasty.

================================================================

Notes On James Blue is a blog kept by Anne Richardson, of Oregon Movies, A to Z, to cover the 2014 James Blue Tribute. The six month long Tribute celebrates the bequest of James Blue’s films to the University of Oregon by The James and Richard Blue Foundation, a 501 c3 non profit organization dedicated to preserving the legacy of filmmaker and film educator James Blue.

Notes On James Blue is supported by The James and Richard Blue Foundation. All thoughts, opinions, and errors, however, belong to Anne Richardson, and do not necessarily reflect those of the Foundation.

Four On Blue: Brian Lindstrom, Michael Palmieri, Donal Mosher & Penny Allen Discuss James Blue

fob poster-3

Four On Blue took place on Saturday, April 26, 2014.

Brian Lindstrom was called away unexpectedly – his son collided with a baseball – so he was at the ER instead of the panel. (Things turned out well at the ER.)

Here’s Brian’s thoughts, by email:

I really hated to miss the panel. The March had a profound impact on me. I think the first time I saw it was in the early 90’s. I was struck by Blue’s moral clarity and his narrative chops. He was able to build a palpable sense of tension as the buses headed toward the march. I loved the way his cameras lingered on faces, creating patient and loving portraits. I was also deeply impressed that none of him images ever feel like “b-roll”–never feel like visual afterthoughts limping along to support narration. Instead, his is a muscular film language with each image pulling its weight. I swear you could watch the filmsilently and it would make perfect sense.

As I understand it, he was given the assignment to make the film just a few weeks before the march. Many filmmakers facing that tight of a timeline would have just followed A. Phillip Randolph and/or MLK, Jr. and told the story from a leadership perspective. But Blue showed real vision in following “the people”. I love the shots of people in the mall presumably after the march, with litter all around them, the implication being: “Now what?”

Amazing that he was able to make such a challenging film (i.e., challenging the audience: “Will we realize the promise of our constitution?”) under the auspices of USIA. I can only imagine what hell he and Rowan had to endure to maintain their artistic vision and integrity. Bless them for doing that.

As it turned out, Carl Rowan’s appearance at the beginning of The March was added after objections were raised about sending a film overseas about citizens rallying for civil rights. The decision to shoot the March On Washington, according to Chris Kovac, was made by George Stevens, Jr., James Blue’s boss at USIA.

But Brian is correct that the decision to focus on the anonymous marchers was made by Blue, no one else.

================================================================

Notes On James Blue is a blog kept by Anne Richardson, of Oregon Movies, A to Z, to document her own learning curve as she attends the 2014 James Blue Tribute.

Notes On James Blue is supported by The James and Richard Blue Foundation, a 501 c3 non profit organization dedicated to preserving the legacy of filmmaker and film educator James Blue. All thoughts, opinions, and errors belong to Anne Richardson, and do not necessarily reflect those of the Foundation.