Cero en conducta

In the spirit of anti-authoritarian revolution, a playful rallying cry for rebellion and non-conformity. I still find the film a bit sloppy, but perhaps sloppy is suitable for this material. Vigo has a lot of fun with form, making the structure as anarchic as the content, including surreal sequences that embody the heroes with magical properties. Again, we have some masterful visual work, reaching a crescendo in the magnificent trashing of the dormitory scene. The movie is very witty and subversive, although I do have to admit that I'm not likely to watch it a third time as it's a work I respect more than I enjoy.

Zero for Conduct - 8/10

Yes, this movie is surrealistic alright. Perhaps not as much as for instance a Luis Buñuel movie but it features lots of symbolism and metaphors. You have to like these sort of movies obviously to fully appreciate and enjoy it.

It's of course also a protest to the very strong regime on boarding schools, which makes this movie a social commentary, like often surrealistic-like movies are. It caused Jean Vigo's movies not to be appreciated until after WW II, since prior to that his movies mostly got banned everywhere.

French always had a thing with revolutions, which also plays a central theme within this movie. The movie might feel and look a bit disjointed at times but its always connected through its central themes.

As odd as this movie might seem like at times, it always knows to remain an enjoyable one, with also some good comedy in it at times, as well as some great looking and directed sequences.

An enjoyable little short surrealistic picture from Jean Vigo.

8/10

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Let's say what this doesn't have; riveting drama, well rounded characters, plush visuals, none of that is at stake here even as consideration. Which is for the better, if you're like me, and you want to see what life can be when freed from confines of story.

It's not even a film that directly fulfills me so much as how it paves a path for things to be done a certain way. See, many films from the era anticipate later movements, it was a fertile time. But none other so fully prophesies French New Wave in particular as this one here.

Look at the tropes and tell me.

The whole film is a series of improvised playing around against the rigid limits imposed by a story - given to us as kids fretting with the (storytelling) routine of a boarding school and its teachers. What little story there is, is for the kids to run around and play- act.

Teachers are shown as suitably buffoonish. The only one who is on their side, who shares in their playing, at one point does a Chaplin impersonation to amuse them. It's the same self-referential appraisal of movies as ideals that we find twenty years later in Godard.

And eventually it's about rebellion. The kids conspire to stage a revolt that takes over the whole school, this on the same day as an important public ceremony is supposed to take place on the grounds. The ceremony is turned into a circus, smashed up. The kids walk triumphant on the roof of the school, heroes of the revolution. French students would rejoice to see this in '68. The film was banned at the time as morally dangerous.

You can see how Vigo was born to anarchist parents, how he was a poet by inclination who wanted the spontaneous burst that turns life upside down and climbs up to where a view is possible. He was cut tragically short while on his way to becoming a Fellini, the story goes.

Vigo's first (and penultimate) fiction feature is a precocious but messy work that serves notice of the huge talent he possesses while clearly showing that he is still a man learning his trade. The story as such tells of a revolt by schoolboys against their strict masters, but it wanders all over the place and appears either to have suffered at the hands of some inept editor's scissors, or to contain an abundance of nascent ideas that Vigo has chosen – or been forced – to put to screen before they were fully formed. It all makes for a fragmented and episodic structure that nevertheless somehow seems to add to the charm of the piece. Interspersed between these disjointed plot developments are some eerily surreal moments, such as when the midget headmaster straightens his tie in the mirror and his reflection moves away a second or two after him, which ensure that this film, while not the finished article, is never less than fascinating.

One thing for sure, the film's appropriate for the son of an anarchist, like Vigo. The school's not much better than a prison, and when the kids get into the mess hall (oops! I mean dining room) and start throwing the tiresome beans around, I thought Cagney in White Heat (1949). But then they're being trained for dull conformity into the machinery of French society. But these kids aren't going to give up their joyful high spirits without a struggle—just watch them bounce down the street. They may troop along two-by-two, but underneath there's a lively heartbeat that won't stand for deadening hierarchy as the ending shows.

Okay, the movie's disjointed, so no smooth narrative here, perhaps the result of a myopic editor. Still, the 40-minutes is full of imagination and amusing effects, while the theme shines through in unmistakable fashion. In fact, I particularly liked the general absence of dialog. That way, I didn't get a sore neck bouncing from captions to visuals. All in all, I wish Vigo's little classic had been shown at my military school—we could have used the inspiration.