{"id":495658,"date":"2025-10-28T15:15:16","date_gmt":"2025-10-28T15:15:16","guid":{"rendered":"https:\/\/www.europesays.com\/fr\/495658\/"},"modified":"2025-10-28T15:15:16","modified_gmt":"2025-10-28T15:15:16","slug":"noir-et-blanc-fidelite-a-loeuvre-casting-les-cles-de-ladaptation-somptueuse-de-letranger-dalbert-camus-par-francois-ozon","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/fr\/495658\/","title":{"rendered":"Noir et blanc, fid\u00e9lit\u00e9 \u00e0 l\u2019\u0153uvre, casting&#8230; Les cl\u00e9s de l\u2019adaptation somptueuse de L\u2019\u00c9tranger d\u2019Albert Camus par Fran\u00e7ois Ozon"},"content":{"rendered":"<p data-module=\"standfirst\" data-context=\"@media (min-width:48em)\">\n    <strong>CRITIQUE &#8211;<\/strong> Apr\u00e8s Luchino Visconti en 1967, le r\u00e9alisateur fran\u00e7ais signe une nouvelle adaptation cin\u00e9matographique de L\u2019\u00c9tranger. Une r\u00e9ussite \u00e0 la fois fid\u00e8le et inventive, port\u00e9e par un noir et blanc m\u00e9taphysique et un Meursault radieux et ind\u00e9chiffrable.<\/p>\n<p class=\"fig-paragraph fig-paragraph--dropped\">Cet article est issu du\u00a0<a href=\"https:\/\/boutique.lefigaro.fr\/produit\/141091-camus-etranger-parmi-les-siens\" target=\"_blank\" rel=\"noopener\" data-gtm-custom-categorie=\"navigation\" data-gtm-custom-action=\"crossclick\" data-gtm-custom-label=\"Contextuel\" data-gtm-event=\"customEventSPE\">Figaro Hors-S\u00e9rie \u00abCamus. \u00c9tranger parmi les siens\u00bb. Retrouvez dans ce num\u00e9ro<\/a> \u00a0la vie et l\u2019\u0153uvre d\u2019un \u00e9crivain qui m\u00e9dita sur le tragique de l\u2019existence et la noblesse de la nature humaine.<\/p>\n<p>    \u00abCamus. \u00c9tranger parmi les siens.\u00bb<br \/>\n                fgrandclaude<\/p>\n<p class=\"fig-paragraph fig-paragraph--dropped\">Il a fallu une sacr\u00e9e audace \u00e0\u00a0<a href=\"https:\/\/www.lefigaro.fr\/culture\/francois-ozon-l-homme-orchestre-20230303\" data-fig-type=\"Article\" data-gtm-custom-categorie=\"navigation\" data-gtm-custom-action=\"crossclick\" data-gtm-custom-label=\"Contextuel\" data-gtm-event=\"customEventSPE\" data-fig-domain=\"LEFIGARO\" target=\"_blank\" rel=\"noopener\">Fran\u00e7ois Ozon<\/a>\u00a0pour adapter L\u2019\u00c9tranger au cin\u00e9ma. Parce que le court roman d\u2019Albert Camus, publi\u00e9 en 1942, est l\u2019un des livres fran\u00e7ais les plus lus au monde. Parce que l\u2019unique adaptation pr\u00e9c\u00e9dente, celle de Luchino Visconti en 1967, est consid\u00e9r\u00e9e \u00e0 juste titre comme une \u0153uvre mineure du ma\u00eetre, voire, de son propre aveu, comme un film rat\u00e9. Parce qu\u2019enfin, le seul projet envisag\u00e9 par Camus, avec\u00a0<a href=\"https:\/\/www.lefigaro.fr\/theatre\/gerard-philipe-une-mythologie-du-theatre-et-du-cinema-20221205\" data-fig-type=\"Article\" data-gtm-custom-categorie=\"navigation\" data-gtm-custom-action=\"crossclick\" data-gtm-custom-label=\"Contextuel\" data-gtm-event=\"customEventSPE\" data-fig-domain=\"LEFIGARO\" target=\"_blank\" rel=\"noopener\">G\u00e9rard Philipe<\/a>\u00a0dans le r\u00f4le de Meursault et Jean Renoir \u00e0 la r\u00e9alisation, avait \u00e9chou\u00e9 en 1950. C\u2019est seulement apr\u00e8s la mort de l\u2019\u00e9crivain, en 1960, que sa veuve consentit \u00e0 c\u00e9der les droits de L\u2019\u00c9tranger au producteur Dino De Laurentiis, \u00e0 condition d\u2019adouber elle-m\u00eame le r\u00e9alisateur et le sc\u00e9nario, qu\u2019elle voulait le plus fid\u00e8le possible au roman.<\/p>\n<p class=\"fig-paragraph fig-paragraph--dropped\">Les\u2026<\/p>\n<p class=\"fig-premium-paywall__infos\">\n        Cet article est r\u00e9serv\u00e9 aux abonn\u00e9s.        Il vous reste 93% \u00e0 d\u00e9couvrir.\n    <\/p>\n<p>                <img  data- alt=\"Le Figaro\" class=\"fig-img--complete fig-img\"\/><\/p>\n<p class=\"fig-premium-paywall__title\">Vous avez envie de lire la suite ?<\/p>\n<p class=\"fig-premium-paywall__subtitle\">D\u00e9bloquez tous les articles imm\u00e9diatement.<\/p>\n<p class=\"fig-premium-paywall__connect\">\n                D\u00e9j\u00e0 abonn\u00e9\u00a0?                <a class=\"fig-premium-paywall__connect-link\" href=\"https:\/\/connect.lefigaro.fr\/login?client=horizon_web&amp;type=main&amp;redirect_uri=https%3A%2F%2Fwww.lefigaro.fr%2Fhistoire%2Fnoir-et-blanc-fidelite-a-l-oeuvre-casting-les-cles-de-l-adaptation-reussie-de-l-etranger-d-albert-camus-par-francois-ozon-20251028\" data-js-gtm=\"{&quot;customCategorie&quot;: &quot;conversion&quot;, &quot;customAction&quot;: &quot;before_Landing_Connexion_paywall_auto&quot;, &quot;customLabel&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMGIzMTBmLWE0MTktNjM5OC05NGYwLWFmZWY5YzExMjNmZF9fQXJ0aWNsZQ==_Noir et blanc, fid\u00e9lit\u00e9 \u00e0 l\u2019\u0153uvre, casting... Les cl\u00e9s de l\u2019adaptation somptueuse de &lt;i&gt;L\u2019\u00c9tranger&lt;\/i&gt; d\u2019Albert Camus par Fran\u00e7ois Ozon_2&quot;, &quot;customIDSPE&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMGIzMTBmLWE0MTktNjM5OC05NGYwLWFmZWY5YzExMjNmZF9fQXJ0aWNsZQ==&quot;, &quot;event&quot;: &quot;customEventSPE&quot;}\" target=\"_blank\" rel=\"noopener\"><br \/>\n                    Connectez-vous<br \/>\n                <\/a>\n            <\/p>\n","protected":false},"excerpt":{"rendered":"CRITIQUE &#8211; Apr\u00e8s Luchino Visconti en 1967, le r\u00e9alisateur fran\u00e7ais signe une nouvelle adaptation cin\u00e9matographique de L\u2019\u00c9tranger. Une&hellip;\n","protected":false},"author":2,"featured_media":495659,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[11,46215,1011,27,12,25],"class_list":{"0":"post-495658","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-actualites","8":"tag-actualites","9":"tag-albert-camus","10":"tag-fr","11":"tag-france","12":"tag-news","13":"tag-republique-francaise"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@fr\/115452452945379433","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/495658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/comments?post=495658"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/495658\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media\/495659"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media?parent=495658"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/categories?post=495658"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/tags?post=495658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}