Visconti's adaptation of Camus' celebrated existential novel was generally considered a mildly disappointing work. However, it may look better today than it did in 1967, besides which there are those who have always considered it a major film - among them John Simon, who wrote in January 1968:

“By far the most absorbing film of the year's end.... Not since Bresson's Diary Of A Country Priest has there been such a reverent, doggedly faithful filmization of a fine novel.... In Marcello Mastroianni - even dubbed into French - Visconti has a superb Meursault. Though the actor is much too glamorous for the part, he manages to shrink himself into the disaffected, slightly dazed, but intelligent nonentity Camus had in mind.... The supporting cast performs remarkably well down to the very extras: only Pierre Bertin as the judge and Alfred Adam as the prosecutor are guilty of virtuoso histrionics. Most surprising is the warm and touching portrayal of Marie that Visconti has elicited from Anna Karina.”