The Stranger
(1967)
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The Stranger
(1967)
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| Credited cast: | |||
| Marcello Mastroianni | ... |
Arthur Meursault
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| Anna Karina | ... |
Marie Cardona
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Bernard Blier | ... |
Defense Counsel
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Georges Wilson | ... |
Examining Magistrate
(as George Wilson)
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Bruno Cremer | ... |
Priest
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Pierre Bertin | ... |
Judge
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Jacques Herlin | ... |
Director of Home
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Marc Laurent | ... |
Emmanuel
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Georges Géret | ... |
Raymond
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Alfred Adam | ... |
L'avocat général
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Jean-Pierre Zola | ... |
Employer
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Mimmo Palmara | ... |
Masson
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Angela Luce | ... |
Madame Masson
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| Rest of cast listed alphabetically: | |||
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Jean-Marc Bory |
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Vittorio Duse | ... |
Lawyer
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In an atmosphere of political tension when the French still control Algiers, an Algerian is killed on the beach and a French man who has lived in Algiers all his life is arrested for the murder. A trial takes place. One of the witnesses was at the funeral of Arthur Meursault's mother. It bothers other mourners and Mersault himself that he showed no emotion when his mother died. His eventful day at the beach takes place a short time after the funeral when he is examining what his life has been and what path should he take in the future. Written by Dale O'Connor <daleoc@interaccess.com>
Although completely panned by critics and Visconti fans ever since its release, I happen to think that this is probably Visconti's best film.
For starters, I was never a Visconti fan. I always thought of him as a talented window-dresser rather than a great or even a good filmmaker (Bertolucci has inherited his mantle). So I wasn't surprised that he thought he could make a halfway decent film adaptation of Camus' great novel. That he happened to do so was a complete surprise to me.
Though dubbed by a French actor, Mastroianni makes a superb Meursault. And Anna Karina was never more beautiful (especially in her first nude scene). The locations are chosen well, though it's often hard to remember that Visconti was trying to stick to the period of the novel (1930s Algiers). There are a handful of other fine performances, and Giuseppe Rotunno uses a palette of colors that is a study in itself.
Piero Piccioni summoned up a bleak, modernist musical score that suitably catches the somberness of the material. This film is an unrecognized and almost forgotten example of what an overrated "auteur" can do when budget limitations and a combination of good casting and a talented crew come together in a highly serious attempt at adapting a great novel. (And it is far better than Visconti's later prissy adaptation of Mann's "Death in Venice.")