Zero For Conduct (1933): Jean Vigo’s Masterpiece–Haunting Film about Anarchic Rebellion

One of the most haunting films about children ever made, Jean Vigo’s Zero for Conduct (Zero de Conduite) depicts and celebrates anarchic rebellion.

Produced, written and directed by Vigo, this feature is loosely based on his personal painful experience in a boarding school.

Grade: A (***** out of *****)

Zéro de Conduite
Zero de conduite.jpg

Film poster

The tale describes the (mis)adventures of a group of young pupils as they endure the absurdities and deprivations forced upon them by rigid authoritarian teachers.

Except for Huguet, a normal guy with the kids, all the other teachers are repressive and/or creepy–in one way or another.  Delphin, the pompous and platitudinous principal, is a bearded dwarf. Theres punishment for the slightest violation of the rules, which results in a zero for conduct, meaning detention on Sunday

In the first scene, two boys, Caussat and Bruel, amuse themselves on the train back to their provincial school. The principal disapproves of the close friendship between Bruel and Tabard, the new boy in class who’s shy and lonely. Tabard curses his fat and repulsive chemistry teacher, who fondles him. Forced to apologize publicly in front of the principal and mates, Tabard bursts out, I say shit on you!

Tensions escalate and events build up to an open rebellion by the students. The kids protest the unvarying beans served them in the dining hall. The revolt begins in the dormitory with Tabard reading a proclamation that denounces the administration and exhorts open rebellion. In a state of frenzy, the boys overturn beds, and enormous pillow fight begins. We see a stunning, dream-like parade of jubilant boys.

The following day is Commemoration Day ceremonies, with the priest and invited officials. Figures of authority are juxtaposed with a row of large dummies. The four kid leaders, who hide out in the attic, start pelting the guests with old books, pots, and stones. Huguet urges them on and encourages other pupils to join in. The officials take refuge as the four victorious revolutionaries climb up on a roof, declaring their freedom

Shown in a private screening, on April 7, 1933, to an invited audience, the movie immediately aroused a huge controversy. As a result, “Zero for Conduct” was banned by the Board of Censors. The government feared that the film might create disturbances and hinder the maintenance of order.

The movie didnt disappear, though. It circulated in a limited way through French cinema clubs. Nonetheless, only after the Liberation, Zero for Conduct entered into general distribution following a 12-year-ban.

At once an attack on the French educational system and a sharp psychological study of youth, Zero for Conduct also represents a poetic evocation of childhood. French social realism gives way to a style of poetic imagery.

The message is clear: Forces of authority in the adult world conspire to inhibit children and suppress their natural, wild spirits. As depicted by Vigo, the guardians of morality are not necessarily realistic figures as a reflection of the childrens POV. Vigo aims to accord children the respect and awe that they deserve. The adults are mere puppets, beginning with the principal, an inflated man with a midget body, shrill voice, and ridiculous beard. In contrast, the kids are alive and vital.

The school is a microcosm of the larger society, a system in which powerful minority forces its will on the weak majority. However, the movie suggests that the weak and submissive can unite to successfully and overthrow their oppressors. The rebellion and victory at the end echo sentiments of the French revolutionary movement. Tabards insolent retort: I say, shit on you! bears political significance that goes beyond the educational environment.

A personal film, “Zero for Conduct” reflects Vigos memories of unhappy childhood. In the film, the sensitive Tabard represents the alter ego of the young Vigo; the director was also influenced by the imprisonment of a colleague of his father. Vigo succeeds in conveying the childrens subconscious minds. The dormitory revolution scene moves from a realistic to lyrical, even surreal level. Vigo uses slow motion, while playing Maurice Jauberts spooky music in the background.

The film is not flawless. Due to production conditions, the sound quality is not very good. There are several loose ends, a result of the fact that there was never a finished script, though some of the lack of continuity is by design. Though unintended by Vigo, the jumpy narrative later influenced the New Wave directors. The cast is largely made of nonprofessionals, which may account for the uneven acting.

Shooting much more footage than he needed, Vigo chose the most genuine sequences, without bothering about missing connections. The dialogue may be sparse and simple, but the visual images are sharp and strong.

Indeed, several scenes stand out in their elaborate mise-en-scene, which fuses editing and lighting. A lot has been written about the “rain of feathers” sequence, and the scene in which the three boys, having been ordered to stand still for two hours at the bedside of a supervisor, plead to allow one of them, who had developed a stomach ache, to go to the bathroom. Their repeated pleas become sort of an incantation that takes on a hauntingly surreal quality.

Scholars have singled out the films dense text, rich with cinematic references: Jean Daste does a turn as Chaplin; the pillow fight scene recalls a similar one in Abel Gances “Napoleon”; and the brief animated cartoon in a study hall brings to mind Emil Cohl. Once released, the movie proved to be influential: Francois Truffaut’s seminal feature debut “The 400 Blows,” and Lindsay Andersons If, the story of a rebellion in a boys school in England, owe a lot to Vigo.

In 1946, the MOMA screened Zero for Conduct for the first time, after which the movie began a commercial run in New York City. A brief scene of adolescent nudity that was deleted by the state censors was restored in 1962. Unfortunately, no complete version of the film has survived.

Made on a low budget (200,000 francs), “Zero for Conduct” was shot by Vigo’s friend Boris Kaufman, the younger brother of the Soviet “Kino-Eye” pioneer Dziga Vertov.


French title: Zero de Conduite

Running time: 44 minutes; also 41 minutes
Produced, written, directed, edited by Jean Vigo.
Cinematography: Boris Kaufman
Music: Maurice Jaubert

About Jean Vigo

Vigo’s brilliant career was cut short by his death from septicemia at the age of 29. Nonetheless, in the few pictures he made, Vigo showed complete mastery of the film medium.