Based on Albert Camus’ unfinished last work, The First Man is an semi-autobiography, balancing tales of the author’s upbringing in a fatherless home with scenes from 1957 Algeria. The film’s twin timelines succeed in profiling author Jacques Coméry and his time in Algeria during two separate times, the 1920s and the 1950s. Scenes from his childhood and the path that led him to become a writer and make a career for himself are juxtaposed with a recent trip to the country to visit his family and speak on the subject of the independence movement. As Coméry speaks to integral figures in his life, the film shows how they impacted him earlier.
There are incredible tensions between French citizens and Algerian nationalists. As the author reflects about his upbringing, he realizes that the two sides are very much alike. He wishes to understand his parents – especially his father who died in World War I – and how their were able to balance their heritage with life in North Africa. Although Coméry’s family was very impoverished, they remained devoted to him and supported his education. His mother lives happily despite the fact that she cannot read his books or newspapers articles about him.
To Coméry, violence is not the only answer to the conflict and he urges (with little success) both parties to find a solution which can be mutually beneficial for all Algerian citizens. He knows from his experience that there should not be two separate classes and that all young people should have equal chances.
Director Gianni Amelio faithfully recreates the lives of average Algerians during two different times. The cinematography is non-descript, occasionally highlighting the stark beauty of the North African landscape or the close quarters in which Europeans and Algerians must live together. From a film perspective, this plain direction leads to few memorable shots; aside from an opening scene when Coméry’s remarks at a local university inspire chaos among the audience. **½