Jean Vigo | |
|---|---|
 Vigo, 1930s | |
| Born | (1905-04-26)26 April 1905 Paris, France |
| Died | 5 October 1934(1934-10-05) (aged 29) Paris, France |
| Occupation | Film director |
| Years active | 1930–1934 |
Jean Vigo (French:[ʒɑ̃viɡo]; 26 April 1905 – 5 October 1934) was a Frenchfilm director who helped establishpoetic realism in film in the 1930s. His work influencedFrench New Wave cinema of the late 1950s and early 1960s.
Vigo was born to Emily Cléro and the militantanarchistMiguel Almereyda.[1] Much of Vigo's early life was spent on the run with his parents. His father was imprisoned and probably murdered inFresnes Prison on 13 August 1917, although the death was officially a suicide. Some speculated that Almereyda's death was hushed up on orders of theRadical politiciansLouis Malvy andJoseph Caillaux, who were later punished for wartime treason.[2] The young Vigo was subsequently sent to boarding school under an assumed name, Jean Sales, to conceal his identity.
Vigo was married and had a daughter, Luce Vigo, a film critic, in 1931. Involved in anarchist circles, from 1932 he was close to theCommunist Party and became a member of theAssociation of Revolutionary Writers and Artists.[3]
He died in 1934 of complications fromtuberculosis,[1] which he had contracted eight years earlier.
Vigo is noted for two films that affected the future development of both French and world cinema:Zero for Conduct (1933) andL'Atalante (1934).Zero for Conduct was approvingly described by criticDavid Thomson inThe New Biographical Dictionary of Film as "forty-four minutes of sustained, if roughly shot anarchic crescendo."[4]L'Atalante was Vigo's only full-length feature. The simple story of a newly married couple splitting and reuniting effortlessly merges unpolished, naturalistic filmmaking with shimmering, dreamlike sequences and effects. Thomson described the result as "not so much a masterpiece as a definition of cinema, and thus a film that stands resolutely apart from the great body of films."[5]
His career began with two other films:À propos de Nice ("aboutNice", 1930), a subversivesilent film that considered social inequity in the resort town ofNice and was inspired by Soviet newsreels; andJean Taris, Swimming Champion (1931), a short documentary film about the swimmerJean Taris. None of his four films was a financial success; at one point, with his and his wife's health suffering, Vigo was forced to sell his camera.
Zero for Conduct was banned[1] by the French government until after the war, andL'Atalante was mutilated by its distributor. By this point, Vigo was too ill to strenuously fight the matter. Both films have outlived their detractors;L'Atalante was chosen as the 10th-greatest film of all time inSight & Sound's 1962 poll, and as the 6th-best in its 1992 poll. In the late 1980s a 1934 copy ofL'Atalante was found in theBritish National Film and Television Archive, and became a key element in the restoration of the film to its original version.[6]
Writing on Vigo's career inThe New York Times, film criticAndrew Johnston stated: "The ranks of the great film directors are short onKeatses andShelleys, young artists cut off in their prime, leaving behind a handful of great works that suggest what might have been. But one who qualifies is Jean Vigo, the French director who died of tuberculosis at age 29 in 1934."[7]
The 2011Parajanov-Vartanov Institute Award posthumously honored Vigo[8][9] forZero for Conduct and was presented to his daughter French film criticLuce Vigo.Martin Scorsese wrote a letter for the occasion[10] with praise for Vigo,Sergei Parajanov andMikhail Vartanov, all of whom struggled with heavy censorship.
