In this review, we delve into François Ozon’s cinematic adaptation of Albert Camus’ classic novel, ‘The Stranger’, exploring its themes, style, and character dynamics.
‘The Stranger’ Review: A Cinematic Exploration of Camus’ Classic
First published in 1942, Albert Camus’ The Stranger — also known as The Outsider — became a cultural icon in the post-punk ’70s, appealing to moody, rebellious teenagers. Its troubled hero resonated with those who had moved on from Catcher in the Rye. This novel also inspired proto-goth band The Cure, leading to their hit “Killing an Arab,” which encapsulated the book’s themes in just over two minutes.
François Ozon’s Adaptation
In contrast, The Stranger, the latest film from French director François Ozon, presents a laborious yet stylish interpretation of the novel. While it remains faithful to the source material, it feels drawn out and less economical. The film boasts a shimmering monochrome aesthetic reminiscent of a 1940s melodrama, infused with a hint of homoeroticism, particularly in its prison scenes that echo Jean Genet’s Un Chant D’Amour.
The Story Unfolds
The film opens with newsreel footage of Algiers, showcasing the city’s gentrification under French rule. Despite its portrayal as a cultural melting pot, graffiti advertising the Algerian Liberation Front hints at underlying tensions. The narrative follows Meursault (Benjamin Voisin), who is imprisoned after killing an Arab man. The film unfolds through flashbacks, revealing the events leading to his incarceration, including the death of his mother and his subsequent relationships.
Character Dynamics
Ozon’s adaptation showcases Meursault’s interactions with a cast of unique characters, including the troubled Salamano (Denis Lavant) and the morally ambiguous Raymond (Pierre Lottin). Raymond’s relationship with an Arab woman named Djemila (Hajar Bouzaouit) spirals into chaos, culminating in Meursault’s inexplicable act of violence.
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Philosophical Undertones
While Camus’ novel offers a compelling first-person narrative, Ozon opts for a show-don’t-tell approach that may alienate viewers. Meursault’s indifference is challenging to engage with, leading to a sense of ennui that contrasts sharply with the novel’s philosophical depth. The film attempts to replicate this resonance but ultimately falls short, particularly during a prolonged discussion with a priest that delays the conclusion.
Conclusion
Despite its flaws, Ozon’s The Stranger is visually stunning and presents a unique interpretation of Camus’ work. It serves as a thought-provoking companion piece to Richard Linklater’s Nouvelle Vague, though it lacks the philosophical punch of the original text. As Robert Smith of The Cure poignantly expressed, “Whichever I choose, it amounts to the same,” encapsulating the existential themes that permeate both the novel and the film.
Title: The Stranger
Festival: Venice (Competition)
Director: François Ozon
Screenwriter: François Ozon, from the novel by Albert Camus
Cast: Benjamin Voisin, Rebecca Marder, Pierre Lottin, Denis Lavant, Swann Arlaud
Sales agent: Gaumont
Running time: 2 hrs 3 mins
