This film could have been titled “There Will Be Beef.”
The curious fault of Luchino Visconti's "The Stranger" is that the film follows the book too closely.
If Visconti had tampered with Albert Camus' masterpiece, I suppose I would have responded with knee-jerk indignation. But he has handled Camus with an almost excessive reverence, and halfway through we realize the film will have no surprises.
This doesn't mean "The Stranger" is bad as cinema. Visconti, like Camus, realizes that the meaning of "The Stranger" is not to be found in the plot but in the mood. The mood is ennui, the dominant emotion of a man who hardly cares enough to tell his own story.
Meursault, Camus' hero, commits a murder almost absent-mindedly.