Iris Murdoch's Existentialism in French Exit : The Difficulty of Thinking Perpetually of Oneself

This article argues that the popular perception of Sartrean existential bleakness permeates French Exit (Azazel Jacobs, 2020), and its publicity, and yet Iris Murdoch's take on Sartre emerges as the film's overriding perspective. I propose that the film stages an encounter between Sartrean and Murdochian understandings of existentialism. The film is about a cold, cynical, widowed woman, who is longing for death to solve all her problems. She is in a state of paralysis, ignoring reality, and emotionally dominating her son, who is similarly inert. Neither of them seem concerned with creating meaningful lives, and – when faced with the shame of their impending penury – they run away to Paris. In the capital city of existential ennui, however, their inertia is invaded by people who represent their pasts, presents and futures, ensuring that they are not able to stay alone wallowing in their familial purposelessness. Protagonist Frances Price learns to see beyond her egocentrism and to release her son to pursue love. Murdoch's vision of our loving interconnectedness trumps Sartre's commitment to our suffering at the judgement of others.