A man is found stabbed to death in an alley. He's wearing yellow shoes. And he's someone who's been seen sitting on benches. Maigret will piece together his life and, most important, the last three years of his life to find the motive and the killer. He will converse with family including wife and daughter, former work colleagues, friends, a brothel madam, and a mistress.
I think this a solid entry in the Bruno Cremer "Maigret" series. Seldom do novel-based films include all the characters, plot points, and dialogues from the novel, but this episode comes close to it, and it certainly captures the feel of what author Simenon brought to the page. The director, Etienne Périer, adds some nice touches: a steam train passes by a cemetery where Maigret is attending a funeral; the wake at the family home delivers the appropriate melancholic mood; and the brothel, while a bit over the top-it's far fancier than what Simenon likely intended-is what I would guess such a place would look like.
At the end of the episode the murderer will be revealed but that's not what you'll remember; rather, I think, you'll remember the man on the bench and ponder his short-lived happiness. The murder victim always matters in any good mystery, but in this episode you'll come to know him and, I think, empathize with him. And it is in that empathy that this episode truly captures Simenon's style. One doesn't read Simenon's Maigret mysteries simply for setup, epiphanous moment, and denouement. I would say the same is true of watching this episode. Getting to and finding out "Who did it?" matters, yes, but only a bit. The best parts are the lingering moments in between.
(By the way, In Simenon's Maigret stories, Maigret's assistants change with some being given more prominence than others in different books. Those assistants include Lucas, LaPointe, Torrence, and Janvier, among others. The filmmakers have decidedly clearly to compress the actions of multiple assistants into one or two in most episodes. I seldom have found this to be an issue. Compression of characters, dialogue, and timelines often occur-understandable so-in the transfer of novel to film.)
I think this a solid entry in the Bruno Cremer "Maigret" series. Seldom do novel-based films include all the characters, plot points, and dialogues from the novel, but this episode comes close to it, and it certainly captures the feel of what author Simenon brought to the page. The director, Etienne Périer, adds some nice touches: a steam train passes by a cemetery where Maigret is attending a funeral; the wake at the family home delivers the appropriate melancholic mood; and the brothel, while a bit over the top-it's far fancier than what Simenon likely intended-is what I would guess such a place would look like.
At the end of the episode the murderer will be revealed but that's not what you'll remember; rather, I think, you'll remember the man on the bench and ponder his short-lived happiness. The murder victim always matters in any good mystery, but in this episode you'll come to know him and, I think, empathize with him. And it is in that empathy that this episode truly captures Simenon's style. One doesn't read Simenon's Maigret mysteries simply for setup, epiphanous moment, and denouement. I would say the same is true of watching this episode. Getting to and finding out "Who did it?" matters, yes, but only a bit. The best parts are the lingering moments in between.
(By the way, In Simenon's Maigret stories, Maigret's assistants change with some being given more prominence than others in different books. Those assistants include Lucas, LaPointe, Torrence, and Janvier, among others. The filmmakers have decidedly clearly to compress the actions of multiple assistants into one or two in most episodes. I seldom have found this to be an issue. Compression of characters, dialogue, and timelines often occur-understandable so-in the transfer of novel to film.)