The adaptation of Albert Camus’s classic novel, L’Étranger (translated as The Outsider), has sparked renewed debate over its colonial themes more than 80 years after its publication. Directed by François Ozon, this new black-and-white film aims to capture the essence of Camus’s work while addressing its complex legacy regarding France’s colonization of Algeria, which ended in 1962.
Ozon’s adaptation is set for release in the UK next year and has already garnered mixed reviews. Critics note that the film, featuring Benjamin Voisin as the emotionally detached protagonist Meursault, mirrors the novel’s existential themes while also introducing new elements. The film portrays Meursault’s indifference, particularly in his reaction to his mother’s death and his subsequent actions that lead to the death penalty for killing an Arab man on a beach.
In the eyes of Nedjib Sidi Moussa, a political scientist and author, Ozon effectively conveys the absurdity central to Camus’s narrative. He argues that Meursault’s condemnation stems not from his violent act but from his emotional detachment, which contradicts the values of colonial society. “Colonial justice would not condemn a European to death for killing an indigenous person,” Sidi Moussa explains, emphasizing that Meursault’s punishment reflects societal norms rather than a straightforward moral failing.
The film’s exploration of colonialism has led to polarized reactions. In 1967, the first adaptation directed by Luchino Visconti was met with disappointment, as it failed to resonate with audiences. Ozon’s version, while ambitious, has also faced criticism. Jacques Déniel, a cinema programmer, remarked that while Ozon captures Meursault’s indifference, the film lacks the metaphysical depth of Camus’s original work, potentially diluting its philosophical impact.
The film’s controversial elements extend to its portrayal of the Arab victim and his sister, Djemila, who is given a more prominent role than in the novel. Catherine Camus, the daughter of the late author, expressed mixed feelings about this creative choice. Although she appreciated the film’s quality, she noted that the emphasis on Djemila’s character seemed to cater to contemporary political sensitivities, diverging from the original text.
Ozon addressed his approach during a recent interview, stating that he aimed to highlight the invisibility of the Arab character in the story. “Djemila… has a conscience and a voice in the film,” he said, noting that her narrative serves to illuminate the historical divide between the colonizers and the colonized. This decision to expand on Djemila’s character reflects a conscious effort to engage modern audiences with the themes of colonialism and cultural alienation.
Critics like Catherine Brun, a literature professor at the Sorbonne, argue that Camus’s work remains a complex enigma that invites diverse interpretations. The ambiguity surrounding colonialism within the novel allows readers to project their own views onto it, creating a lasting debate that continues to resonate in French society today. Brun noted, “With L’Étranger, Camus can be seen as being on either side of the polemic… Nobody can have the last word.”
The film adaptation has reignited discussions about Camus’s legacy, particularly in light of his background as a pied noir, a French citizen born in Algeria. His perspective as someone who benefited from colonial rule complicates interpretations of his work. As audiences prepare for the film’s release, it remains to be seen how Ozon’s vision will influence ongoing conversations about colonialism, identity, and literature in a contemporary context.
In summary, Ozon’s adaptation of L’Étranger confronts significant themes that have long challenged readers and scholars alike. As it approaches its release, the film promises to be a focal point for renewed discourse on one of the most pivotal works of French literature, reflecting both the historical and modern ramifications of its narrative.
