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...STRANGER. Italian Director Luchino Visconti's film follows the action of Albert Camus' novel with hardly a comma missing-and therein lie both its strength and its weakness. The action of the book eventually moves into the mind, and Visconti has not found a cinematic technique for translating the shift. Marcello Mastroianni plays the despairing hero...

Author: /time Magazine | Title: Television: Feb. 2, 1968 | 2/2/1968 | See Source »

...STRANGER. Italian Director Luchino Visconti's film follows the action of Albert Camus' fine novel with hardly a comma missing-and therein lies both its strength and its weakness. The action of the book eventually moves into the mind, and Visconti does not find a cinematic way of translating the shift. Marcello Mastroianni plays the hero suffering from alienation and despair...

Author: /time Magazine | Title: Television: Jan. 26, 1968 | 1/26/1968 | See Source »

...STRANGER. Italian Director Luchino Visconti (Rocco and His Brothers) has been fanatically faithful to Albert Camus' fine novel of alienation and despair, even to the point of including a long soliloquy on life, death and the meaninglessness of it all by the hero (Marcello Mastroianni), which mars an otherwise powerful film...

Author: /time Magazine | Title: Television, Theater, Records, Cinema, Books: Jan. 19, 1968 | 1/19/1968 | See Source »

...network of conflicting spatial relationships from the many people in his best-seller-based sagas, and his films work on a level far transcending the dramatic material. From this specialized, perhaps perverse, point-of-view, Hurry Sundown is close to Preminger's best film. Visconti. Like Rosselini, Visconti (director of Rocco and His Brothers and The Leopard) has all but abandoned the moving camera in favor of the zoom lens. On one end of the spectrum we have Rosselini, whose integrity and genius is such that he can use the zoom simply because it exists...

Author: By Tim Hunter, | Title: The Ten Best Film of 1967 | 1/5/1968 | See Source »

...action of the book-and the movie-moves inside his mind. The camera is left staring at Mastroianni while his voice on the sound track soliloquizes on life, death and the meaninglessness of it all. The sequence is faithful to what Camus wrote, but it is a shame that Visconti could not have found a more cinematic way of getting it across in a film whose power otherwise almost matches the book that inspired...

Author: /time Magazine | Title: Cinema: The Stranger | 12/29/1967 | See Source »

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