French Director François Ozon Revives “The Stranger” with Unique Adaptation

French director François Ozon has brought a fresh perspective to Albert Camus’s classic novel “The Stranger” with his latest film adaptation. Premiering at the Zagreb Film Festival, the film draws from the controversial themes present in Camus’s work while navigating the complexities of modern interpretations.

Revisiting a Controversial Narrative

In the past, strong labels such as “fascist” or “racist” have been casually applied to individuals, often without understanding their implications. One notable example is the backlash faced by Robert Smith, lead singer of The Cure, over the song “Killing an Arab.” This track, while inspired by Camus’s narrative, was mischaracterized as a racist anthem. Ozon’s choice to use this song in the credits of his film suggests a deliberate engagement with such controversies.

“The Stranger” marks only the second film adaptation of Camus’s widely-read novel, following Luchino Visconti’s 1967 version, which faced disapproval from Camus’s family, limiting its distribution. The earlier adaptation struggled with casting choices, notably with Marcello Mastroianni, whose age did not align with the character of Meursault. Ozon appears to have learned from this misstep, casting the younger Benjamin Voisin in the role of Meursault, effectively capturing the character’s essence.

Character Development and Themes

Meursault, depicted as emotionally detached, is introduced in a sequence that highlights his disconnection from the world around him. The film opens with a flash-forward to a prison setting where Meursault shares space with Arab men, hinting at the racial tensions that underpin the story. Set in 1938 Algeria, the film lays the groundwork for the looming colonial regime that would last for decades.

The narrative follows Meursault’s mundane life, disrupted by the death of his mother. His response is notably apathetic, as he requests only two days off work to attend her funeral. This emotional distance continues when he forms a relationship with Marie, played by Rebeka Marder, showcasing his inability to connect even in intimate settings. As the story unfolds, Meursault’s interactions with his neighbor, Remon, played by Pierre Lottin, lead to a pivotal crime that propels the narrative forward.

Ozon’s adaptation tackles themes of absurdism and existentialism, reflecting on the consequences of Meursault’s actions and the societal reaction that follows. During the trial, the prosecution attempts to portray Meursault as a sociopath based on his emotional detachment, rather than focusing on the actual crime committed. This critique of societal norms and moral expectations resonates with contemporary audiences.

The film successfully bridges the gap between Camus’s original themes and modern sensibilities, engaging with concepts such as alienation and the absurdity of existence. Ozon’s approach involves eliminating the narrator present in the novel, yet still infusing the film with critical reflections on France’s colonial past and its lingering effects on modern society.

While Ozon’s adaptation may deviate from the original text in some respects, it ultimately succeeds in presenting a compelling narrative that invites viewers to reflect on the complexities of human emotion and moral ambiguity. The film’s cinematography, led by Manuel Dacos, and the score by Fatima Al Kadiri enhance the story’s emotional depth, creating a visually and audibly striking experience.

As a homage to classic cinema, Ozon’s work draws inspiration from masters like Visconti and Hitchcock, while also embracing a retro aesthetic that adds to the film’s allure. With a rating of 4.5/5, “The Stranger” is poised to be a standout entry in the cinematic landscape, leaving audiences contemplating the intricate layers of Camus’s narrative.