The Stranger Review: A Lustrous and Thought-Provoking Adaptation
François Ozon's latest film, The Stranger, offers a modern and visually stunning take on Albert Camus' classic 1942 novella, L'Etranger. Set against the backdrop of 1940s French Algeria and filmed in Morocco, this monochrome masterpiece passionately honours the original text while injecting a contemporary perspective on its enduring themes of empire, race, and existential absurdity.
A Supernaturally Detailed Period Piece
The film opens with an archive reel of Algiers, evoking a sense of historical authenticity reminiscent of Julien Duvivier's Pépé Le Moko. Ozon crafts an almost supernaturally detailed sense of period and place, immersing viewers in a heatstricken reverie of violence and mystery. Benjamin Voisin delivers a superb performance as Meursault, the antihero on trial for murder, portraying him with unreadable expressions of listless unconcern that capture the character's profound indifference.
Through flashbacks, we witness Meursault's dull office life in Algiers, where he rejects a promotion to Paris, and his blank reaction to his mother's death. His relationships with Marie, played by Rebecca Marder, and acquaintances like the cantankerous Salamano and seedy Raymond, further highlight his apathy towards societal norms and personal connections.
Contemporary Themes and Critical Changes
Ozon's adaptation makes significant changes to bring a modern critique to the book's themes. In the novel, the victim is simply "the Arab," but the film gives him and his sister names—Moussa and Djemila—and adds dialogue addressing racial injustice. This shift softens the original's potential bigotry, though Meursault's shooting of Moussa on a boiling beach remains a pivotal, inexplicable act.
The film explores whether this violence is an existential acte gratuit or a racist act enabled by colonial privilege. Meursault's refusal to offer standard excuses, such as self-defence or remorse, frustrates the authorities, culminating in his iconic line: "It was because of the sun." Ozon retains Meursault's inability to explain his actions, positioning him as a violent endpoint of imperialism, devoid of compassion.
Loss of Brutal Power and New Interpretations
While Ozon's changes provide a fresh perspective, they arguably dilute some of the source material's brutal, heartless power. The film's emphasis on race and empire adds depth but may lessen the existential impact of Camus' original. Meursault emerges as a martyr to absurdity, with Ozon suggesting that his final rhetoric highlights the absurdity of his own martyrdom.
The Stranger is a lustrously beautiful and superbly realised film that challenges viewers to reconsider Camus' work through a modern lens. It is now showing in the US, with releases in UK cinemas on 10 April and in Australia on 16 April.
