★★★ / 35mm / A fascinating exploration of a man’s impassivity and paralysis contains lovely Visconti flourishes, Mersault sitting motionless next to his mother’s coffin, blankly listening to the enraged ramblings of his friend, the neighbor's lost dog, his disinterest at his surreal trial. For me, Mastroianni's charisma muddles the characters normality and the final sequence in jail feels unnecessarily long winded.
Rather unjustly marginalized Visconti, this adaptation of Camus' eponymous novel accomplishes inconspicuously its mission with a sweaty and indolent Mastroianni enduring, like Anti-Christ, the world's weight (its taboos and normative strictures). Particularly memorable is Visconti's use of sound that creates a palpable sense of Arthur's sheer indifference to the (laws) of the universe. Strangely compelling.
I don't think there is anything cinematic about Camus' novel and this film misses the mark for me in a few major ways. Mastroianni is too sly and knowing in the role, and the whole construct has him recounting in languid detail the lead-up to an event that was enacted by someone with indifference to their actions. The court/circus scene diverts the story into a different film about public accountability.
Man in prison tells judge his case is so simple he won't need a lawyer. The Stranger features the harshest depiction of mourn I've seen. Lead role Arthur Meursault flawlessly ignores his own emotions, yet is not sure he knows what happiness means. The script is philosophically very dense and not a single question is raised but not pursued. First-rate material by Visconti, maybe not best to watch under the influence.
bon bah c'est l'étranger de camus, donc déjà t'en ressors et t'as des tas de trucs à réfléchir. en plus c'est mastroianni filmé par visconti, (parait qu'il aimait bien les garçons lui aussi - je le comprends) donc c'est joli à regarder. et puis c'est alger, et puis les acteurs sont bons, et puis la scène de fin est absolument fantastique. par contre prévoir une bouteille de flotte pasqu'on sue pendant tout le film.
In a time that book adaptations don’t go any further than Harry Potter and Fifty Shades of Grey, those of us who had the privilege of reading Camus should also be thankfull for the privilege of having this existential masterpiece brought to cinema by a true master.
In the book, Camus brilliantly points Mersault's inner state of mind related to external events with details which only literature can sustain. This cinematic study involves the exterior look upon the existential condition of the character. If you accept this you will find a top achievement by Visconti with high fidelity for dramatic tension,flashy rhythm,colours,locations and a touch: Anna Karina's beauty for Marie
Even though I did not find this film artistically interesting, it remains true to the book, unlike many films based on books. Almost everything in the book is there, and that happens to be the best bit about it. Second best bit is Anna Karina, and how well she portrays the role of the playful, care-free Marie.
I agree with the commenter below that this is one of the best adaptations of a book I know. This criminally underrated Visconti film graps you whethor you've read Camus or not. This is one of Mastroainna's best performances and everything was perfect. I wish someone would remaster this and give it a proper rerelease.