In many ways David Oelhoffen

 

In many ways David Oelhoffen’s film Far from Menassists my understanding of Albert Camus’ short story The Guest. Although the context of colonial relations is part of the background of both texts, Oelhoffen’s delivery of an attractive and hopeful message arises not from faithfulness to the original story, but from developing ‘clarifications’ in three ways: through character, setting, and narrative. It moves beyond the perspective of politics to explore the value of life.

The portrayal of the protagonist, Daru, by Oelhoffen is consistent with many qualities of the original. Daru’s values lead him to reject violence and respect free will. His reactions to killings and his loose treatment of the prisoner show this. Rules of hospitality and his principles prevent him from condemning the prisoner, and he is resolute in his decision. Yet he avoids committing himself ethically. For instance, he prevents the prisoner from discussing the two choices given. Rather than focus on Daru’s relationship with two other characters, Oelhoffen symbolically expresses Daru’s humanism and depicts his reactions to events. This avoids the misinterpretation of relations the audience cannot relate to. A universally applicable message becomes apparent when Daru says, ‘We’re alive,’ after the war crime against ‘terrorists’. By contrast, Oelhoffen creates scenes to develop a bond between Daru and Mohamed in which they recognise more similarities than differences. This is aided by Daru having Spanish roots and therefore no cultural superiority. Consequently Daru is exiled because of his connection to the land, betrayals of the Arab and French communities, and his Spanish background. Both versions of the protagonists cannot excape social responsibilities and both return in need of reflection. A shifting perspective of Daru from his relationships with others to his reactions develops an understanding of the character as a human rather than a French-Algerian.

The film’s depiction of struggle is supported by Oelhoffen’s additional characters through the creation of tensions and troubles. Where Camus invites the reader’s judgement and perceptivity to understand the story, the film introduces more material but is simplified and explained clearly. This expansion of the three thought-provoking characters subject to reflection retains their respect of the other’s status as a complex moral being. An easier understanding is achieved due to the film being one interpretation of possibly complex characters.

Although Daru advises the Arab to act on free will, the original story has Daru turning the Arab towards freedom a little roughly, as though that would be the recommended path. He leaves suddenly as if was reluctant to guide all along. In the film he says, ‘Do what you want.’ Whether the Arab and Daru submit to the land is not made clear in the film, however, in the original, Daru feels ‘a king of exaltation’ while walking.

Setting and symbol

Oelhoffen’s use of setting is characterised by an inhuman desert landscape evoking a sense of isolation in the film. The journey involves crossing mountains, overnight stays in caves and abandoned towns, and a visit to Daru’s birthplace. In specific settings, Oelhoffen reflected his decision to show only the two main characters. Mohamed is then developed as a physical character to contrast the inhuman desert which comes to represent the Independence fighters due to their deaths. The cinematography therefore is not enhancing viewers’ perception of the characters. This leads to an understanding that no place is truly isolated due to Daru being unable to distance himself from his captors to avoid partaking in the conflict. The land is ‘open’; Daru notices Balducci from his schoolhouse and the insurgence members notice the pair’s presence instantly. Although Daru’s concept of exile in his homeland is kept, the land is no longer a mythic place for all inhabitants to be ‘possessed’ by its harsh beauty. Camus increases the complexity of the impossible reconciliation he imagines by utilising the short story form. It understates the scenery by keeping the main action in Daru’s school. The setting gives its inhabitants a ‘true life’ as noted by Camus: ‘outside this desert, neither…truly lived.’ However, Oelhoffen has emphasised its brutality by positioning it as an opposition to the characters. The deaths, a slide down a rocky slope, and a blood-stained garment reinforce this. Oelhoffen persuades audiences that even without being possessed by the land, human compassion can win over misunderstandings to a certain extent.

Narrative

Narrative structures of both texts focus on sources of conflict and address the issue of human relationships to successfully convey their respective messages. Camus’ story moves from the absurd to revolt and ends in solitude. Oelhoffen embellishes Daru’s satisfyingly simple life, the disruption and Daru’s disagreement, and Daru’s eventual alienation, by slowly drawing characters into the conflict. This reveals the character’s backstory, tests their tolerance and responsibility, and bonds them. Additional elements of tension are added, such as the visit to a brothel which highlights the special circumstances of this age. Daru is led to reconsider his identity and belonging after depriving himself to do good. Moreover, Daru and Mohamed’s communication contrasts because a harmonious relationship is built up in the film which begins by eliminating the language barrier which is the central source of misunderstanding. This is reflected in the resolution which has an expanded meaning. Camus concludes that humans cannot escape their social responsibility of the power of the state. Oelhoffen removes this thought and modernises the resolution by stating that the Arab should be able to escape and not be subject to French law. Also, he shows that humans can live anywhere with hope. Daru imparts words of hope to Mohamed: ‘Trust in the Creator.’ Dary then finishes teaching his last lesson before leaving and is affectionately farewelled by his students. By deliberately choosing not to end with a scene where Daru views the night sky, and instead finishing with a shot of children, the symbol of hope, leaving the schoolhouse, Oelhoffen imparts the essence of Camus’ message. It develops a positive and practical interpretation of Camus’ story and famous quotation: ‘I will defend my mother before justice.’

The title Far from Men depends on incidents and circumstances depicted in the film for its meaning. As the narrative proceeds it becomes apparent that it refers to the distance between men. Consequently, misunderstandings can arise as well as Mohamed’s escape of unjust laws.

A strongly psychological structure

Using character, setting, and narrative, Oelhoffen in his film adaptation, conveys a more relevant message for the new generation. Due to the nature of the story being closest to the situation Camus found himself in regarding Algerian Independence, it is natural that life is valued above traditions and justice.