Reviewing isn't really my thing. However, it seems that some information about this film, information that was only fully told when the film was restored in 2001, isn't easily accessible in English. So, here's the rundown:
1- during the long gestation of the project (from 1962), Visconti was often tempted to underscore the political side of the novel; this was shot down by the Camus family.
2- the first choice to play Meursalt was Alain Delon, but negotiations fell apart. In came Mastroianni, who offered to make the movie for half his usual pay. There was no way producer De Laurentiis would say no.
3- Visconti had envisioned a flashback structure to the film, with different viewpoints. The Camus widow imposed a writer of her choice (Roblès) to ensure literal faithfulness to the novel.
4- at this point Visconti tried to walk out, but he was bound to make this film by contract, and had to despite losing all enthusiasm. He was to remember it as his worst film.
Now for the vote. It is professionally done, and while Marcello gives a completely different take on Meursalt from the book - close your eyes and imagine young Delon instead - he gives it his best. A sufficient effort, if one does not think of what it could have been.
1- during the long gestation of the project (from 1962), Visconti was often tempted to underscore the political side of the novel; this was shot down by the Camus family.
2- the first choice to play Meursalt was Alain Delon, but negotiations fell apart. In came Mastroianni, who offered to make the movie for half his usual pay. There was no way producer De Laurentiis would say no.
3- Visconti had envisioned a flashback structure to the film, with different viewpoints. The Camus widow imposed a writer of her choice (Roblès) to ensure literal faithfulness to the novel.
4- at this point Visconti tried to walk out, but he was bound to make this film by contract, and had to despite losing all enthusiasm. He was to remember it as his worst film.
Now for the vote. It is professionally done, and while Marcello gives a completely different take on Meursalt from the book - close your eyes and imagine young Delon instead - he gives it his best. A sufficient effort, if one does not think of what it could have been.