Maigret se equivoca por última vez

Sadly the Maigret's trilogy reach in the end "Maigret Voit Rouge" where Jean Gabin as Jules Maigret had a hard task against American gangster at Paris, it somewhat changes the early format on previous ones, as usually the French people were labeled as unpleasant hospitable, here its applied fully perfectly on Maigret's behavior over the foreign gangsters and with Italian-American Pozzi (Vittorio Sanipoli) Manhattan's owner bar, whose he threatens a harsh deportation, equally he scolds the pretty Lily (Françoise Fabian) by she coming from Belgium, alluding their as simply visitors in the so blessing French ground, the plot is the unusual, three American mob gangsters are in Paris to silence a potential French convict who was years at large in USA which bear witness to FBI against a powerful Chicago Mobster, even having a good connection at USA's embassy with a diplomat Harry Mc Donald (Paul Carpenter) who give him puny datum, then Maigret gropes in the dark, however wisely sets a trap with a a redolent cheese to catch the rats at Manhattan's bar at starting point, aside a minor flaws this movie has so many fair qualities and elements that allow hook the viewers, some colorful character as the countryside old Dr. Fezin who speak in an upscale parlance on Kafkaesque language on rare eloquence, Hellenistic philosophy in figurative language, and the unlucky Inspector who was trounced meanwhile looking for his great case, whilst the frantic Jules Maigret explores all his stockpile of abilities to draw some hint which shall reach on the truth, pleasant and even funny mystery of the Maigret's farewell!!

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First watch: 2020 / How many: 1 / Source: DVD / Rating: 7.25

Maigret voit rouge (1963) is a captivating crime thriller that superbly showcases the detective prowess of the beloved French literary character, Jules Amedee Francois Maigret, as created by Georges Simenon. Directed by Gilles Grangier, the film stays true to the essence of Simenon's novels while offering a unique and memorable cinematic experience.

Jean Gabin's portrayal of Inspector Maigret is both charming and enigmatic. Gabin masterfully embodies the detective's characteristic calm, wisdom, and remarkable intuition. His performance alone makes this film worth watching. The supporting cast, including Françoise Fabian and Paul Frankeur, deliver equally impressive performances, adding depth and intrigue to the story.

Set against the vibrant backdrop of Paris, the film's plot centers around a series of mysterious killings tied to the American underworld. The plot is well-paced, and Grangier's direction artfully keeps the viewer engaged throughout, with suspenseful moments and unexpected twists. The interplay between French and American criminal elements is particularly fascinating, providing a compelling and fresh perspective to the classic crime thriller genre.

The cinematography, by Louis Page, wonderfully captures the 1960s atmosphere and complements the overall tone of the film. The music by Michel Legrand adds an air of elegance and suspense, elevating the movie to an even more engaging experience.

Despite being a product of its time, Maigret voit rouge has aged quite well and still offers an enthralling experience for fans of crime thrillers and classic cinema. While the film may not appeal to everyone, especially those unfamiliar with the character of Maigret, it is an excellent introduction to the detective's world for newcomers and a thrilling installment for longtime fans.

In conclusion, Maigret voit rouge (1963) is a classic crime thriller that showcases a captivating story, a compelling cast, and a distinctive French flair. It is a must-watch for fans of the genre and those interested in exploring the world of Inspector Maigret.

Police inspector Guy Decomble is sent out to deal with pilfering from a market. On his way, he finds a man who has just been shot by three men in a car. When he goes to find help, another car picks the injured man up. Then Decomble is grabbed by the shooters, Americans who question him and beat him unconscious. In his third appearance as Maigret, Jean Gabin has only a pair of American sunglasses to lead him to the answers.

It's clearly a programmer, taking advantage of Gabin's excellence and Georges Simenon's unlikely detective stories -- this is adapted from one of them. Still, Gabin puts in a fair day's work. He's one of those performers, like Ann Sheridan, who are clearly concentrating on whatever they are doing at the moment, whether it's bussing dishes or removing the band from a cigar. Gabin's Maigret is a man who asks questions, gives orders, and that's it. It may seem barebones, but one of the reasons I stopped reading Simenon's books is that his Maigret is exactly the same.

All this results in a tight movie with a mystery which makes so little sense that only Maigret can figure it out. At least, he says he has it figured out before having someone else explain.

If this Maigret fails to be exciting, blame it on the script (or the novel).When deprived of his social comments,of his psychological dramas,in a nutshell,when he does not portray the social customs of the period,Simenon's novels are nothing but trite gangsters stories.Apart from Maigret himself (played by Gabin the best Maigret that ever was,but elsewhere),there's simply not one interesting character on the screen. Grangier displays respect for the audience though:American gangsters speak English -and not French with an accent as it was often the case in his colleagues' works at the time-;for that matter,hats off to Michel Constantin ,the French tough guy par excellence ,who plays a Yankee and whose English is perfect.

But frankly ,a disappointment.

Jean Gabin had previously played the indefatigable commissaire Maigret in two other films. "Maigret Sets a Trap" and "Maigret and the St. Fiacre Case". Directed by Jean Delannoy, these films were poetic psychological studies, full of atmosphere and complex, interesting characters. In sharp contrast, the third Gabin Maigret film "Maigret Sees Red" is a fairly straightforward crime picture, the kind of movie Jean Gabin was famous for and the kind of movie you'd never expect to see credited to Georges Simenon. This is doubtlessly down to Delannoy's replacement, writer/director Gilles Grangier who made his name directing pulpy actioners with Jean Gabin.

The plot concerns a trio of American hitmen who arrive in Paris and leave a trail of bodies in their wake. Why are they here? Who are they after? Who hired them? These are the questions Maigret and his team of detectives are tasked with finding out while racing against time to stop the gangsters before they kill again. But, unbeknownst to Maigret, the hitmen don't even trust each other and soon little quarrels turn into all-out bloodshed.

This film has the name Maigret in its title and his creator Georges Simenon in the credits but no characteristics associated with his work. For one, there are no intriguing characters or commentary on the human condition here. Just a no-frills police procedural mixed in with gangster film elements lifted straight out of American B-movies. The trio of hitmen is a truly ridiculous group, sporting overdone American accents and the kind of attitude school bullies display on the playground. Especially awful is Michel Constantin, looking like a gorilla in a tuxedo and dubbed over by possibly the worst voice actor in the world. These guys wouldn't look out of place only in a "Naked Gun" movie.

Thankfully, the rest of the film works quite nicely. Especially any scene in which Jean Gabin takes charge. His Maigret is an absolutely superb creation and even though he doesn't get a chance to show off his acting as he did in the Delannoy films, he still brings an irreplaceable, commanding presence to the role. He also has a suitably wry sense of humour and frequently during the film his eyes take on an imminently likeable mischievous glow. He plays wonderfully well against his co-stars especially Guy Decomble as the incompetent Inspector Lognon and Paul Carpenter as a CIA agent.

Gilles Grangier does a capable job and the film moves at a remarkably snappy pace. Rarely stopping for character development helps, I suppose, as the film zooms through its fairly complicated plot. I'm not entirely sure if and how the whole thing hangs together, but the ride never stalled.

I do have to admit that I'm not a fan of gangster flicks. I don't care for criminals and mobsters, so I found "Maigret Sees Red" to be something of a drag and a disappointment after the two brilliant and thoughtful Delannoy films. However, those who do have a taste for these kinds of actioners will surely find this to be a well-executed if average entry in the genre. There's nothing to make it particularly memorable, but it works and for some folks, that's more than enough.