Misogyny in The Stranger and Trust (1990)

Both pieces of media, The Stranger and Trust (1990), center around men, these being Mersault and Matthew. These men both have love interests, the love interests being Marie and Maria, with Maria being more of the main character. My main issue is with Marie from the novel The Stranger. In the book, Marie is never a fleshed-out character, despite being an important character for the events within the novel. 

Marie is seen as merely an extension of Mersault, not as a unique individual. Furthermore, most descriptions of Marie are when he is having sex with her or thinking about having sex with her, illustrating that Mersault likely just sees her as a sex object. 

Trust is different in that regard, with Maria being a more fleshed-out character. However, Maria is also an extension of the male main character, albeit in a more subtle way. Maria’s development centers around Matthew, constantly trying to prove to him how smart and mature. Even conflicts with her mother heavily center around men in the story, that being her dad, her (ex) boyfriend, and Matthew. Matthew, on the other hand, has his character development rely not only on Maria but also on the events of his job and conflicts with his father.
 

In the end, Trust  is not a movie that criticizes the misogynistic troupes, leading to said troupes not being challenged and an overall misogynistic mi

Marie is Happy too

Albert Camus’ The Stranger exhibits the way that societal expectations serve to uphold a system in which everyone’s aim is to reach an ideal and is, therefore, never satisfied. These ideals are merely constructs, however; irrational and absurd. Camus asserts that the only way to truly seek happiness is to avoid seeking control over what is random and to embrace one’s agency to determine their own fate. 

Of the characters through which Camus demonstrates the theme of his novel, Marie acts as somewhat of a contradiction. She chooses to follow societal norms, unlike characters like Meursault and Salamano, who are disconnected from judgment and expectations. Marie illustrates what is expected of a romantic relationship when she asks Meursault if he wishes to marry her (41). The motivation behind this as well as her subsequent questioning of whether he loves her seems to be because Marie assumes this is what should happen in a romantic relationship like theirs. The widely accepted image of love that she embodies merely serves to establish a need for perfection in the construction of an expected passion for romance.

Despite striving to follow in the image of society, Marie is the most joyful character in the novel. This is in part because of her naivety, but also because she is the most open-minded and accepting. When Meursault responds to her question, he is contradictingly dispassionate. Marie is not upset by this, but comes to understand Meursault’s seemingly shallow view of her. While one might argue that this only proves her naivety, it also allows her to fully enjoy her relationship with Meursault because she is not overly attached to any one idea or expectation.