Stranger on Earth

A Note to the Reader: In writing this piece, I have attempted to avoid spoilers. The plot summary below is of the superficial kind and should not spoil anyone’s viewing experience. For a more comprehensive summary, refer to:  http://en.wikipedia.org/wiki/The_Human_Condition_(film_series) As far as cinematic war chronicles go, there is not one that is grander and more urgent than Masaki Kobayashi’s mammoth 9-hour-and-47-minute trilogy The Human Condition (1959-61), with David Shipman, the famed British film critic, calling it “unquestionably the greatest film ever made” (984). And yet, ironically, few casual viewers will have seen it, partly due to its off-putting length. This should be rectified. The trilogy carries with it a message as pressing and disconcerting as that of Platoon (1986) or Apocalypse Now (1979), and should be acknowledged by anyone with an ounce of interest in humanist cinema. The film may be more than half a century old, but the protagonis...

Albert Camus’ The Outsider  (or The Stranger ) features on most high school reading lists. Teachers of English literature are attracted to it because of its slimness; it is compact and written in startlingly uncomplicated language; its protagonist – a man alienated from society - is someone teenagers have no trouble relating to. But is it really that straightforward? Those of us who teach it year after year – have we really felt the gravity of Camus’ landscape-changing message? The students who skim through it year after year – have they really understood Meursault’s stance as they claim? After all, one of the 20 th -century’s greatest philosophers, Jean-Paul Sartre, was completely floored by the novel when he first encountered it during World War II. (His biographer Annie Cohen-Solal says “his intellectual machinery jammed” [5].) In 1943, Sartre, having mulled over the ambiguity of the novel, published “A Commentary on The Stranger ” in the literary magazine Le Cahie...

And the sky, the light, the trees, the whole of Nature would be, as always, in league with them: Daniel was a man of evil will. (136)  This curious line describes Daniel, the only homosexual character in The Age of Reason , and his perception of himself. It is an unflattering image imbued with self-loathing, indicative of a mind that views its perceiver as a social outcast and a victim of universal oppression. It is interesting to note that Daniel’s homosexuality is hidden from the public, and that there is no indication that he has been openly discriminated against – and yet, what we have here is a young man in his prime, possessor of a “dark, handsome, blue-jowled visage,” whom Marcelle ironically calls “her dear archangel” (82), grappling with a self-hatred so powerful that every thought crossing his mind is associated with destruction and death. Our first proper introduction to him takes place in Chapter 7, and it is here that we find Daniel shaving “naked to the...

The first instalment of Jean-Paul Sartre’s trilogy Roads to Freedom , The Age of Reason ( L’ Â ge de Raison , 1945), compels the modern reader to re-define the idea of freedom, conventionally worded as “the condition of being free of restraints” (The Free Dictionary). “Free of restraints” is murky waters when it comes to Mathieu and Daniel, the two main characters of Sartre’s soul-searching work.  Sartre’s characters are primarily “for-itself beings,” existentially free persons who act according to the choices that have moulded them. The words “existentially free” are oxymoronic, and the phrase “free persons who act according to the choices that have moulded them” is painfully paradoxical. This is classic Sartrean paradox: it tells you that as an individual you are “free” to make choices, but these choices are pre-determined by a whole other set of choices beyond your control or manipulation. Mathieu Delarue has made the mistake of impregnating his mistress of seven ...