There is an undeniable charm to Jean Vigo’s Zero for Conduct (1933). Watching it I see why it was cited by so many of the contributors to Cahiers du Cinema as their inspiration to break into directing, and is thus responsible in many ways for the masterpieces of the French New Wave. This is reason alone to see the film, and indeed was my primary motivation aside from completing the list. However, in its own right Conduct is a terrific picture. The “1001” text makes note of the fact that it was loosely remade as If in 1968. But what sets Conduct apart from that film is the sardonic nature that is employed in total throughout the movie. Whereas If had snippy and dissatisfied youth, this original film is cheeky even in its scenarios and direction.
1001 is also quick to note the film’s homoerotic undertones. While I won’t deny that they’re there, I feel that they’re overstated by those who would look for such things in a picture such as this. In essence, this is a film about youth. Whether or not Vigo was infusing his film with political undertones (as the makers of If clearly were) I don’t know. I don’t really care either. The text of this narrative is good enough by itself, no subtext required.
This is the ultimate “boys will be boys” picture, and the thematic precursor to any subsequent film concerning the happening at a boarding school. The characters presented here are real to any audience because they are the prototypes for what have since become clichés. The stern housemaster, the class clowns, the rebellious kids who smoke in the “boys” room and the good-natured young teacher all find their place in this film. There’s even room in this span of a forty minute narrative for the headmaster with the Napoleon complex.
What comes across so strongly for me is the sense Vigo has for how much of the world children actually do understand. Here they still play pirates and whistle during their escorted afternoon outings, but they are familiar with mature concepts of oppression and revolution as well. I wrote before that I do not know whether Vigo intended to make a larger statement with this film, but I do know that he understands how to use symbolism. At the film’s climax, as the stogy authority figures of the school gather to celebrate an inane anniversary, they are seated on a stage to be viewed by their pupils. Because there are more chairs on the stage than there are figures to fill them, dressed dummies are placed in vacant seats next to these academic elite. The connection is clear.
Jean Vigo’s own story is one of the saddest in cinema. He died before the age of 30 of tuberculosis just after completing L’Atalante (1934). That film is a perpetual contender in the Sight and Sound poll of the greatest films ever made, and will likely be included again in next year’s edition. While I certainly like L’Atalante, I think Zero for Conduct means more to me. It’s hard to think that the young director of these two brilliant films left the world so prematurely. We can only speculate as to what he would have done had he lived on into the period he so drastically influenced. It’s also hard to believe, but this film was banned in France for a time. Sad, as I can think of few others as apt for use as a tool to interest youth in the art of cinema.
Grade: 4 Hats Off
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