Synopsis
Adaptation of the novels written by Georges Simenon featuring his fictional French police commissioner Jules Maigret.
Maigret
2016 Directed by Ashley Pearce, Jon East
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Alternative Titles
梅格雷探长, 梅格雷的死者, Maigret Sets a Trap, Maigret in Montmartre, Night at the Crossroads, Maigret: Night at the Crossroads, Maigret's Dead Man, Μαιγκρέ, 麦格雷的陷阱, 巧设陷阱
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As a fan of Simenon's novels, Atkinson wasn't my idea of the archetypical Inspector, but nonetheless, he brings a certain level of stoicism & intelligence to this recent Maigret. As with the books, the procedural narrative is largely a means to explore more interesting psychological issues, with the usual inferences of class, sexuality, repression, etc. The production values & period detail are impeccable throughout.
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No hace mucho vi la versión con Jean Gabin. Esta película para televisión le gana en misterio y en temas de procedimiento policial.
Pierde en sabor francés aunque tenga una excelente factura técnica.
¿Y Atkinson? Pues, y dejando aparte que su físico está bastante alejado de la robustez del personaje, funciona muy bien con su mirada inquisitiva y observadora pero le falta cierta humanidad y empatía que es una de las características de Maigret. -
I love the fact that our detective is smart but not in an exaggerated way. He's smart... but also good and respectful to people.
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Nicely atmospheric, this third film featuring Rowan Atkinson as Maigret is a tangled tale of gems, Jews and family secrets.
Atkinson is impressive as the chief inspector who is centred and clever, and his thoughtful manner (here contrasted with Kevin McNally's regional plod) gets to the heart of the mystery.
Sarah Harding directs with a sure touch and Hungary passes for the Paris of years past.
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Not the sharpest of detective stories, but I'm liking Rowan Atkinson pleasantly enough as Maigret. Just wish the production had been more ambitious to get a rounder feel of it all.
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Como en el resto de episodios/películas para televisión, lo menos importante es el misterio. Lo que me interesa más es la ambientación, el drama humano.
Qué bonita escena final con Maigret al borde de las lágrimas. -
NB 7/2/19: Those dickheads at TMDB have decided to lump all the Maigret films together which means my review of all four films are now showing on LB as me logging one film four times! Thankfully, someone else has separated each movie so I can log them individually again. Here goes...
Hmm, the last Maigret film, Night at the Crossroads (shown at Easter) was a distinct improvement, but this latest adaptation seemed to be something of a step backwards, thus turning ITV's big offering for Christmas Eve into a rather underwhelming affair. Surprisingly, this is the first adaptation that actually (though somewhat hesitantly) approaches some of the dry humour that can be found in Simenon's novels but, whilst Atkinson's detective…
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NB 7/2/19: Those dickheads at TMDB have decided to lump all the Maigret films together which means my review of all four films are now showing on LB as me logging one film four times! Thankfully, someone else has separated each movie so I can log them individually again. Here goes...
Much was made of this being Rowan Atkinson's first straight dramatic role, but actually that's incorrect as anyone who recalls his turn as the real life 1920s racing driver Sir Henry 'Tim' Birkin in 1995's Full Throttle will tell you.
But it is fair to say that the comic chameleon's decision to return to drama twenty-one years later by way of stepping into the shoes of Georges Simenon's intrepid…
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A fine entry in the series. The plot twists and turns in interesting ways, even if the ultimate solution is a little over-common nowadays. Atkinson's Maigret is a little less fun than Gambon's, but he's more driven and methodical, and that makes him internally interesting. The supporting cast here is quite good, particularly Tom Wlaschiha of Game of Thrones, whose performance seems inspired by Hardy Kruger.
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Not having read Georges Simenon (an embarrassing admission) I can't comment on the accuracy of Rowan Atkinson's portrayal of Inspector Maigret, but it's a quiet, subdued performance, meticulous in its underplaying, and ultimately quite dull. He is also prone to give a pause regularly, adding to the snail's pace of this straightforward police procedural which could have easily been wrapped up in half its running time. The real star is the production design, with Budapest standing in for an evocative recreation of early-fifties Paris. Things liven up a bit when the murderer (an eccentric David Dawson) and his mother (a fearsome Fiona Shaw) appear for the last half hour. Generally, though, it's an unrewarding 90 minutes.
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