The Stranger: A Flawed Adaptation of a French Classic

One of the pillars of filmmaking is the ability adapting material from different sources like books, comic books, music, plays. Yet, despite the appeal to adapt classic literature, it comes at high stakes. These works are classic due to their impact on culture. One such work is that of French philosopher and novelist, Albert Camus. Throughout his brief life and career, Camus left an impactful work, earning a Nobel Prize in Literature in 1957, three years before his death. In 1942, he released his Magnum opus, the novella The Stranger/L’Étranger. Adapted by the French veteran writer-director François Ozon, The Stranger tells the story of Meursault (Voisin), a French settler living in Algiers, Algeria. After the passing of his mother, Meursault begins a relationship with Marie (Marder), a woman who was in his life. However, during a trip with Marie and his neighbor Raymond (Lotin), a violent pimp, Meursault found himself in an altercation resulting in the death of an Arab man. From there, his calm life quickly became a living hell, shifting from the calm beaches of Algiers to the crowded jails of the country.

The Stranger is the study of the life of a cold man who suddenly becomes a murderer, and loses the comfort of his life in the colonized country. From the start, it is clear how this adaptation boasts a remarkable visual identity, thanks to its black-and-white cinematography by Manuel Dacosse. He achieves a texture of constant warmth in their imagery, transposing the elevated temperatures of the Algerian city. Meursault’s forehead is constantly sweaty, as he and Marie spend most of their happy moments at the beach, enjoying the natural relief from the hot and oppressive weather. That being said, despite the texture of its imagery, Ozon opts for a colder adaptation of Camus. Structurally, he does not embody the division in parts from the novella; yet, there is an evident division in the narrative. The journey of Mersault is divided into before and after the murder, transforming it visually; the black becomes darker, infusing the dramatic element of the lead character and his ongoing situation in jail. 

The novella crafts an absurdist reality, where the theater is so oppressive that it leads a then peaceful man to become a violent murderer. This element is present in the approach to the classic, viewing it through a political lens. There is a constant discussion on the clash between Arabs and French, the societal differences between the settlers and the colonized, alongside the assumed permission for the French to commit violence. It is another layer in the dramatic structure of the universe built by Camus; however, the shift in its framework does not translate as well in the film. The most fascinating element of the story is the calm madness of the man, resulting in a sudden act of brutal violence. 

Likewise, Ozon transforms the second half of the book into a courtroom drama. Beginning with the romance between Meursault and Marie, aided by the chemistry of Voisin and Marder. Their romance leads through the flesh, the bound desire for each other’s sexual energy, and the duo embodies it accordingly. There is a sensuality in the couple that serves it efficiently. Yet, despite the talents of Voisin, a rising star in French cinema, the latter half of the film diminishes and its impact, dragging most of the story development. Consequently, the restrained framings constrain a film about the wild desires, which could serve well from the shift from the beaches, and the large spaces of his flat to a jail cell. Yet, the dark lightning diminishes the impact of the visual metaphors. 

As Ozon attempts to rediscover the lines of Camus in The Stranger, the French veteran shifts the story into a courtroom drama, studying the racial motives behind it instead of the inhumane, maddening weather and the likelihood of insanity. Despite the sexual performance of Voisin and Marder, the film feels flat in its courtroom commentary, making for a film that grows longer and less interesting by the end.  

still courtesy of Immina Films

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Pedro Lima

Brazilian film writer. He is also a producer and executive producer for Zariah Filmes. Member of the International Film Society Critics Association (IFSCA), International Documentary Association (IDA), and Gotham and Media Film Institute.