Only it's not the world of the rich, on the contrary Meursault is surrounded by people of his own class - though some of course are white while others are the Arabs, as they're called - but it's not that he has any prejudice either way. This is the Mastroianni from La Dolce Vita only *more* broken, like if he just decided 'f*** it' and went even further into just disconnecting from the world around him. While he is older than one might've pictured the character in the book - not that we get too clear an idea of what he looks like based on his first person take on things, but he seems fairly young - it doesn't matter after a few minutes. not bad for sure), Mastroianni is so good a match that it's hard to picture anyone else.
So who do you get to play him? Though he considered Alain Deleon (which would've been. He is even called, in almost polite terms, "peculiar", though at other times he's called worse when it comes time for those long (but totally engrossing and fascinating) courtroom scenes where it becomes almost a farce of pulling emotional-teeth.
the sun, maybe(?) Who knows? Meursault is a particular kind of character to play who has such a worldview that is tricky to make into a compelling sight to want to be with for 105 minutes. what reason? Was it because he and another guy were bothering his friend with a knife? No, no real intention that way. This is a world where there is underlying political strife it's set in Algiers at a time when France still occupied it (though it's populated by Italians just buy into them being all French, ironic that Karina gets dubbed), and the centerpiece that sets this character heading to oblivion comes when he shoots an Arab for. The point is that through this story of a man who works as a clerk and keeps to himself and doesn't say much, unless he has something to say or has to, Visconti finds a tone that is curious and yet also distant, which is a kind of contradiction in terms that fits the Camus' style of absurdism. Oh, and his mother dies to begin with, which becomes a major point of contention later in the story. Meursault (Mastroianni) is a character who is affected by the world around him, though that's not to say he's a cynic per-say or completely one to not connect with anyone clearly he connects with Marie, who cares for him dearly, and he meets a 'friend' in a man who repeatedly hits his woman and has him write a letter for him under dubious circumstances. What Visconti does is actually adapt the book quite closely, and even gets into the tone of not so much existential despair as existential don't-give-a-damn. So to see it in 35mm is something of a major treat - the question is, how does it hold up almost 50 years later, adapting a book that is nearly 75 years old? Is it timeless? Well, yes.
#Alberas kamiu svetimas movie#
I had heard about this movie and wanted to see it for years, but it's one of that increasingly smaller handful of pictures featuring notable names and a world-class filmmaker (and based on such a book as it is) that is not available, and never has been, on home video (VHS/DVD/VoD, Beta, you name it).
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