Maigret

The Bruno Cremer "Maigret" series is exceptional and reminds me of those great British books-to-television mystery series from the 80s/90s such as Jeremy Brett's Sherlock Holmes, David Suchet's Hercule Poirot, and (my favorite) John Thaw's Inspector Morse. What I enjoy most about the Cremer series is how well it captures the atmosphere-bars, bistros, apartments, mansions, the wet pavement of the streets, peripheral noises, the varied dialogue, and the quiet moments--that the author George Simenon brings to his books (both his "Maigret" titles and his other novels--I've read all the Maigret stories and several of his other titles). 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 series. Getting to and finding out "Who did it?" matters, yes, but only a bit. The best parts are the lingering moments in between.

One wise decision made in developing this Maigret series is that all episodes are set in the late 40s through the 50s. Simenon's Maigret novels span across several decades (30s - early 70s) and the change in ages, fashions, cars, and architecture would have been a challenge. And of course, there would have been the war years and the German occupation of Paris. While not actually shot in Paris, who cares? This is the Paris of the late 40s and early 50s, maybe not in reality but the Paris of our-at least, my-imagination, the Paris that Simenon paints in his stories. Capturing that look and feel is crucial if one is to film Simenon. I applaud the filmmakers.

Generally, these episodes adhere to their corresponding novel. Not always and seldom perfectly. I don't mind an addition or embellishment here or there. It's the nature of book-to-film, but if one does it then one better do it well. In this series, it's usually, but not always, done quite well. Bruno Cremer embodies Maigret and delivers, for me, the character I imagined when reading the novels. I'm grateful for the 54 episodes in this series. I wish there were more. (There are over 100 Maigret stories counting both novels and short stories.)

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, Dufour, and Janvier, among others. The filmmakers sometimes condense these characters into maybe one or two where in the book there are two or three or more. It seldom, if ever, affects the story or plot. While true that Lucas appears more in the novels than in this series he is NOT in every novel as Maigret's right hand man (as one reviewer persists in claiming).

My review here and of individual episodes are based on the DVD set.

There have been some outstanding portrayals of Maigret, the most recent Rowan Atkinson versions being quite good, but Bruno Cremer best invokes the spirit of books. Maigret is NOT a procedural, although they are certainly mysteries. They are about people and the human condition, best demonstrated by Maigret's compassion. Sometimes for victims, and yes, sometimes even for the criminals. If there is any failing at all in this fine series, it is the relative absence of his wife, who features more strongly in the books and some other versions. One of the most re-watchable series, I had depended on MHZ to view it and finally obtained a DVD set of the entire series. If you love mysteries, you simply can NOT skip over Maigret.

There are two great Maigret adaptations available online or in DVDs from the 1990s, the British version done by Granada for two seasons in 1992, starring Michael Gambon, and the Dune French version that lasted from 1991 until 2005 with Bruno Cremer. Both have strong qualities, although in many ways they are completely opposite. Gambon's Maigret is affable, poetic, emotional, sympathetic, and works in close concert with his men; his Paris (Budapest) is sunny and bright. Cremer's Maigret is taciturn and intense, preferring to wait silently while people reveal themselves, riding his men hard at times, especially the often incompetent officers he encounters outside of Paris; and his Paris (Prague) is always gray or pitch black, dark wet streets, his pipe glowing. In many ways the visual look of the shows are opposite, with the British series relying more on the romance and nostalgia of Paris, while the French series is a showcase for the dark psychological mysteries of Simenon. The French series hews more closely to the original stories, and also has the advantage of the episodes being 30 minutes longer; it is also a more complete canon, with nearly 5 times as many stories. In the Gambon series, Gambon is more pleasant, his men work with him as a clever team, and we see much more of Mme. Maigret, who appears in nearly every episode, but the humor and the characterizations are typically British, which can be somewhat disconcerting. The Cremer Maigret varies in quality with the directors, but he is almost always brilliant, playing his hunches and guiding his investigations with a deep psychology that truly honors the original Simenon novels. And it goes almost without saying, the French version pulls no punches and has a much darker way of exploring aspects of the French character that the heart of Simenon; Cremer spends a lot of time listening to people and asks questions which seem strange but reveal hidden truths. Gambon's Maigret does more of the talking and seems to succeed more through luck and teamwork, which may be failings of the shorter format and the transition from French to English storytelling. I'm fond of them both, but the Cremer Maigret is one of my favorite television programs, with plenty to love, at over 75 hours. It is also possible to watch the Cremer Maigret's over and over, picking out new clues and details, but there is no such depth to Gambon's Maigret.

I've just caught up with this version, as the Talking Pictures channel (UK - old films and TV) have started showing it, after all 4 series of the 1960s BBC version with Rupert Davies as Maigret (acclaimed by Simenon, apparently).

After the first episode, it's clear the producers and direction went massively for style and atmosphere, preferring them to actual accuracy re the books!

Reviewer Brtor mentions the Gambon versions (2 series) and seems to say they were limited at 55 mins long. Well, that is WRONG, they were about 70 mins or so, fine to tell the stories, and far more accurate to the novels, as they featured Maigret's team, and wife.

THIS Cremer version has a big, thoughtful Maigret, but he seems to have none of he occasional bits of humour seen in the novels, and both the Davies and Gambon versions. This one is also very slow-paced, the time taken up by the camera spending ages looking at the lead, showing the wheels turning in his head as he considers the plot?!

Speaking of plot, the first episode I've seen is the well-known story set in Montmartre, a nightclub stripper is murdered, after making a claim to police that she's overheard a murder plot, and her body quickly turns up dead. All the other TV versions seen in UK did this same story, they all kept to the plot from the book, with only minor changes (the Davies version was only 55 mins, so had to get a move on!). THIS version for some reason makes BIG changes to the story, the death location is changed, also the mode of the death, and 2 characters are merged into one -- maybe one of the actors didn't turn up?!! Quite bizarre, and anyone claiming 'accuracy' can immediately be shown this episode, as I can see no reason for such radical changes.

Oh, another reviewer mentions the Rowan Atkinson version, speaks well of it. However, that short series was also blighted by a very slow pace (2 hour show, though ads took up a few mins) - and RA is a rather glum, taciturn Maigret, a portrayal that generally got panned by Maigret fans used to the books and earlier versions. I daresay this Cremer version will get a similar kind of verdict, as the team seems to have only fringe involvement, almost no use of his faithful aide Lucas for example, which readers of the books will find very odd?!

We'll watch more episodes, as it's an interesting version -- but if the slow pace gets too much to bear (style over substance?!) we may give up.

I'm a big fan of Simenon's Maigret. I've read several of the novels and seen all of the movies from Pierre Renoir to Jean Gabin and Charles Laughton. I have seen the very limited Rupert Davies clips on YouTube and I wish there were more to see. Davies looks a lot like Gabin. I didn't care for the Richard Harris Maigret and at first Michael Gambon left me cold but I've changed my opinion somewhat after a second viewing of that series. About a year ago I discovered the episodes featuring Bruno Cremer. I was unfamiliar with Cremer other than seeing him in the excellent Sorcerer film (I think people avoided because of the title). I immediately fell in love with the series. Cremer to me is the Maigret that reminds me the most of the one in the novels. His physical appearance is right (to me). His ability to quietly observe and hone in one the trivial details that almost always are crucial to solving the mysteries. His intuition almost from the start at what or who is behind the crimes and his friction with the judges is the Maigret I recognize. I understand criticism of the slow-moving aspects of the series. But I enjoy watching the patience of this brilliant investigator. The criticism that he's more involved than a man of his rank should be is the exact quality of the author's character and the reason he's disliked by many of his fellow officers and by the judges who think he's too involved. I now have all of the DVD sets in my collection but I continue to watch the episodes in order on MHz Choice that streams on my ROKU players. I'm glad I discovered this great series and if you're a true fan of Simenon and Maigret you would be advised to check it out even if you're not a fan of subtitles. It's worth the effort. In fact, it's worth checking out MHz Choice. I've watched other very entertaining shows on that streaming channel as well from France and other countries.