Jean Vigo, 1933
Reparto: Jean Dasté (Monitor Huguet), Robert Le Flon (Monitor 'Pete-Sec'), Delphin (Director) Du Verron (Supervisor general), Pierre Blanchar (supervisor) León Larive (profesor de ciencias), Raphaël Diligent (bombero), Louis Lefebvre (Caussat), Coco Golstein (Bruel), Gilbert Pruchon (Colin), Gérard de bédarieux (René Tabard)
Los chicos del internadoReparto: Jean Dasté (Monitor Huguet), Robert Le Flon (Monitor 'Pete-Sec'), Delphin (Director) Du Verron (Supervisor general), Pierre Blanchar (supervisor) León Larive (profesor de ciencias), Raphaël Diligent (bombero), Louis Lefebvre (Caussat), Coco Golstein (Bruel), Gilbert Pruchon (Colin), Gérard de bédarieux (René Tabard)
Los niños vuelven al internado después de las vacaciones. En el dormitorio el orden es estricto. Cuando alguno se pasa se queda sin salida el fin de semana, cero en conducta. Los profesores y los guardias abusan de la medida, en cambio el nuevo guarda es comprensivo con los niños, imita a Charlot y no se enfada por nada.
Los niños organizan una revolución en el dormitorio que dejan lleno de plumas, en clase, donde tiran los libros y en el comedor tirando las habichuelas, de las que están hartos, a los profesores.
El día de la ceremonia con las autoridades, los niños se suben al tejado y arman una verdadera revolución al son de la marsellesa.
Vigo hizo sólo cuatro películas y murió a los 29 años. Su padre fue a la carcel por anarquista y dejó cierta impronta en el director. Zero de conduite no es muy coherente, pero lo suple con creces con su vena poética y con su espíritu provocador.
Todo el mundo ve la influencia de la película en “Los cuatrocientos Golpes” de Truffaut y en “if...” de Lindsay Anderson. También es evidente en “Los chicos del coro”.Webster Fact: people and places in Zero for Conduct are rather ugly, glamorous places and people play no part in this movie. This partly accounts for the critics' praise of the "extreme naturalness" of some French films made in the 30ís
cinescene: Vigo's surreal comedy/drama set in a boarding school has been enormously influential, most notably on Truffaut's The 400 Blows and Lindsay Anderson's If .... The director grew up in a boarding school himself, after his father, the militant anarchist Miguel Almareyda, died in prison, and he draws on his experiences to ground the film in the often gritty reality of a boys school. He also draws on his anarchist sympathies and his attraction to surrealism to give the film a dreamlike quality and a playful, lampooning sense of humor.
Phesto: The simple plot about children revolting against their instructors at boarding school is given a dream-like mood by fluidly mixing the objective with the subjective. Narrative is secondary, and what remains with the viewer are certain shots or sequences rather than a cohesive story line.
The film evokes a magical feeling for the students’ world; one of them makes a ball disappear and reappear while another jumps from behind a wall to catch something at just the right time. One interesting sequence has the only sympathetic instructor, Huguet, standing on his head and drawing a comic-looking picture of a man.
combustible celluloid ****: I found that it doesn't make any sense. You just have to let the weirdness and anarchy wash over you, and enjoy it like a fresh dip in a lake. The key thing about the movie is that Vigo is able to let his anxieties, passions, dreams, and feelings come out lucidly on the screen. He wasn't hiding anything. He was a great poet. (He died at the age of 29 of tuberculosis, having only completed 2 short films and 2 features.)
IMDB
cinescene: Vigo's surreal comedy/drama set in a boarding school has been enormously influential, most notably on Truffaut's The 400 Blows and Lindsay Anderson's If .... The director grew up in a boarding school himself, after his father, the militant anarchist Miguel Almareyda, died in prison, and he draws on his experiences to ground the film in the often gritty reality of a boys school. He also draws on his anarchist sympathies and his attraction to surrealism to give the film a dreamlike quality and a playful, lampooning sense of humor.
Phesto: The simple plot about children revolting against their instructors at boarding school is given a dream-like mood by fluidly mixing the objective with the subjective. Narrative is secondary, and what remains with the viewer are certain shots or sequences rather than a cohesive story line.
The film evokes a magical feeling for the students’ world; one of them makes a ball disappear and reappear while another jumps from behind a wall to catch something at just the right time. One interesting sequence has the only sympathetic instructor, Huguet, standing on his head and drawing a comic-looking picture of a man.
combustible celluloid ****: I found that it doesn't make any sense. You just have to let the weirdness and anarchy wash over you, and enjoy it like a fresh dip in a lake. The key thing about the movie is that Vigo is able to let his anxieties, passions, dreams, and feelings come out lucidly on the screen. He wasn't hiding anything. He was a great poet. (He died at the age of 29 of tuberculosis, having only completed 2 short films and 2 features.)
IMDB
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