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JEAN VIGO
ALBERTO CAVALCANTI
Jean Vigo came from the Basque country. His grandfather was an important official in the little state of Andorra, and his father was the famous Almereyda, one of those pre-war figures who have since become legendary.
Vigo inherited the strength and energy of these men. He belonged to the vigorous and care-free type of Pyrennean mountaineer. He had the sense of scale, the feeling for the contrast between great and small, which belongs to those who come from little isolated countries.
He also inherited the personal charm of his father, who, according to those who had known him, was one of the most charming men in the world. Like his father, Vigo had a great many friends. Although very reserved, he once confided to one of them that he had taken his first infant steps in a prison during the Great War. In this prison his father was "suicided." From this grim childhood Vigo carried with him for the rest of his life a bitterness which was to dominate all his work.
Now at the age of twenty-nine he is dead.
He started his career in a photographer's studio, and later became an assistant camera-man. Then he founded a film society at Nice, and did his first work as a director in A Propos de Nice, which he qualified with the phrase point de vue documente. After coming to Paris he first made Taris the Swimmmig Champion, and next went on to write a script for a more ambitious film on tennis with H. Cochet; but the difficulties which surrounded young French directors forced him to abandon this. It was then that he set to work on what is perhaps his most complete film, Zero de Conduite {Nought for Behaviour).
The Paris Censors considered this film to be an outrage against the educational institutions of the nation, and, declaring it to be harmful to children as well as to the good name of the Schools of France, forbade its exhibition in public. A Press show followed in which the film aroused open hostility.
The bourgeois sentiments of the audience were deeply shocked by the behaviour of the children as shown by Vigo. During the projection the house-lights had to be switched on several times, and the show ended almost in a free fight. In Paris, highbrow audiences have the courage of their convictions.
Zero de Conduite is the only film about children in which no com
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