Joaquin Miller (1837-1913) Oregon poet/liar/literary sensation.
Writing about Oregon film history, I have encountered a strong headwind of resistance to the idea that Oregon’s film history is in any way exceptional. Presenting the case quantitatively does nothing to soften the resistance.
How can you appraise a film history with no standard of comparison? What about, Richard Blue asked me, Minnesota? All American filmmakers have to come from someplace. Minnesota, for example, produced the Coen Brothers.
I have learned from experience that people are not impressed by the length of a list of names. They want to understand the situation qualitatively, and here we come to the heart of the matter. We don’t claim Oregon artists because qualitatively we do not know what that means.
What’s “Oregon” about them? Their subject matter? Their street addresses? Their birth certificates? Their historical moment?
We are comfortable calling Gary Snyder a Pacific Rim poet because he translates Chinese poetry and practices Zen Buddhism. We know what Pacific Rim means, and he fits. We don’t know what to call Snyder’s mixture of Wobbly/Reedie, anthropologist/poet, logger/social visionary which pre-existed his first trip to Japan. There is no word for this extremely regional set of characteristics, so it goes by the wayside, as if it doesn’t exist, or is important only insofar as it helped prepare Snyder to be a Pacific Rim poet.
Similarly, we don’t know what to call a Portland raised Dust Bowl refugee/filmmaker/actor/journalist/educator who could not make heads or tails of Madison Avenue or Hollywood. James Blue’s French film school education and his awards, the accomplishments for which he is most well known, give no sign of the intensity of his commitment to the classroom or to regional film. They leave out any accurate sense of his background. In fact it would be easy to mistake Blue for an international playboy or blueblood, based on the most skeletal reading of his life. Until the NARA restoration of The March triggered national reevaluation of his career, James Blue was most famous for having achieved fame.
Creating film artists who are independent, internationally known, writer-director-producers is Oregon’s regional specialty.
James Blue and James Ivory marked this trail. Bill Plympton and Gus Van Sant followed it. Each of these film artists placed such an emphasis on maintaining control of his work that it shaped his entire career. Are we supposed to ignore their independence, and the international scope of their careers, because to acknowledge those traits is to invite charges of exceptionalism?
I have come to believe that we do this to make real the image we want to have of the West. The West of our imagination is a frontier. It has no history. By refusing to write about, think about, and understand our history we actively keep alive for ourselves the wide open pristine emptiness of the “second chance” Western landscape we want to believe is our home.
Joaquin Miller, Oregon’s first internationally acclaimed author (and a man who knew a thing or two about second chances, having survived multiple scandals of assorted size), knew that the empty, pristine West was a fantasy.
His first book, Unwritten History: Life Among The Modocs, addresses the issue right in the title. If Joaquin Miller, who experienced the wide open frontier, could relinquish the idea of Oregon as a history free zone, why can’t we?
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I dedicate this post to Walt Curtis, Oregon poet and literary historian, who insisted I read Joaquin Miller. Thank you, Walt!
Stay tuned for films of Harry Smith, James Ivory, James Blue, and Homer Groening which will be screened at the Hollywood Theatre during the upcoming Mid Century Oregon Genius screening series.
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Notes On James Blue is a blog kept by Anne Richardson, of Oregon Movies, A to Z, to cover the 2014 James Blue Tribute, a six month retrospective at the University of Oregon.
Notes On James Blue is supported by the James Blue Alliance, a 501 c3 non profit organization dedicated to preserving the legacy of filmmaker and film educator James Blue. All thoughts, opinions, and errors, however, belong to Anne Richardson, and do not necessarily reflect those of the Alliance.
The Olive Trees Of Justice (1962)
Recoiling from the approaching death of his father, the reduced economic circumstances of his family, and the chaos of a city at war, Jean, the son of a French colonialist, retreats to memories of the years he spent growing up on the family farm on the Mitidja plain outside Algiers. One childhood friend, Said, is now a revolutionary. Another, Boralfa, is his mother’s kitchen servant. At his father’s funeral, Jean argues with Boralfa over the future of Algeria, but refuses to relinquish his childhood bonds, or his identity as an Algerian.
James Blue made The Olive Trees Of Justice as a collaboration. Jean Pélégri, the author of the semi autobiographical novel on which the film was based, co-wrote the screenplay and plays the dying French colonialist, a character based on his own father. The closest thing to a professional actor in Blue’s cast, Pélégri had recently played the role of the Inspector in Robert Bresson’s Pickpocket.
The rest of the actors were non professionals. All Algerian. James Blue cast shrewdly, choosing the son of a colonialist to play the son of a colonialist, the mother of a friend to play a mother, and three young Algerian boys to play, basically, themselves. Shot entirely on location, the war torn urban landscape of Algiers is another important character in the film.
Maurice Jarre shoehorned the score for The Olive Trees Of Justice into a year which saw him composing five (5) film scores, including Lawrence Of Arabia.
Shot under pretext it was about the wine industry, smuggled out of Algeria and edited in France, James Blue showed The Olive Trees Of Justice out of competition at the 1962 Cannes Film Festival where it won the Critics Prize. It was his first feature.
Here’s the young artist in New York, just before his triumph:
And a confession: I like Olive Trees because it does not have James Blue voiceover.
The narrator is not omniscient. He is guilty, nostalgic, self loathing, resentful, respectful, and open to personal transformation. He is an adult child, wandering the streets looking for – what? For Said? For some idea of how to resolve the conflict between what he knows he should do and what he fears he will do? Throughout the film, he wears the mournful expression of someone who has been asked to stand in a corner.
His movements through Algiers are shot newsreel style, allowing us to see, in real time, on the real sidewalks and streets, the volatile mix of European and Arab culture constantly ready to explode. By contrast, the scenes of his remembered childhood on his father’s farm are shot as classic Hollywood cinema. Lyrical, orderly, concise. The dilemma is not just that Jean wants to live in the past. He wants to live in a movie.
But Jean’s memories, however nostalgic, also contain the seeds of war. The holy man who tends the graves of departed saints curses Jean’s father for not respecting Muslim religious tradition. The same holy man, when Jean’s father is threatened by a group of hungry Arab men, appears and disperses the crowd. He defies categorization, and cannot be reconciled into European worldview. Jean grew up learning both cultures. He watches the holy man celebrate Muslim holy days, and he watches his father set off fireworks to celebrate Bastille Day. He speaks Arabic and he speaks French. There is no space in Algiers which is off limits to him. Yet all he wants is to flee.
James Blue, in interview:
The Olive Trees Of Justice, James Blue’s first narrative feature, was also his last. From this point on, all his work would be in documentary. Yet a theme he returned to throughout his career – that of working with a community to express itself on film – is in full display in this, his least characteristic work.
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One of the few surviving 16mm prints of The Olive Trees Of Justice was screened on February 12, 2014 at the Schnitzer Museum of Art as part of the University of Oregon’s James Blue Tribute.
That same fragile print was screened at the Hollywood Theatre on Oct. 11, 2014 as part of the Mid Century Oregon Genius screening series. Richard Blue, James Blue’s brother, and James Dormeyer, Blue’s classmate at IDHEC, introduced the film. Blue’s former student and longtime colleague Gill Dennis joined them afterwards for a panel discussion.
In the audience was Sheldon Renan, who served with James Blue on the NEA’s first media funding panel in 1970, and Brooke Jacobson, who worked with Blue on an NEA survey of regional film resources in the mid 1970s.
Larry Bissett and James Ivory, two of Blue’s University of Oregon classmates, traveled to the screening from Seattle and New York, respectively.
James Ivory rose from his seat during the discussion which followed the film to describe his wonder at Olive Trees‘ visual elegance and unsentimental approach to story. This film, he said, is so French.
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Notes On James Blue is supported by the James Blue Alliance, a 501 c3 non profit organization dedicated to preserving the legacy of filmmaker and film educator James Blue. All thoughts, opinions, and errors, however, belong to Anne Richardson, and do not necessarily reflect those of the Alliance.