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--from bars and bistros and apartments and mansions to the wet pavement of the streets to the peripheral noises to the varied dialogue to the quiet moments--that the author George Simenon brings to his books (both his "Maigret" titles and his other novels--I've read them all). 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.
"Maigret at Montmartre" is based on Simenon's Maigret at Picratt's, a story of the murder of a cabaret dancer. Throughout the film the scenes and conversations provide us, the viewers, various glimpses--windows from varied angles--into the world in which this dancer moved and lived her life. The show follows the book quite well UNTIL the end and that ending prompts me to give this a 7/10 (though I wanted to score it higher as up until the end I was thoroughly enjoying it). I accept that books-to-film/TV often prompts a change in some of the plot, a condensing of conversations, and a cut of some of the characters. (Name one film that sticks to the book exactly. It's not easy to think of one.) Here, though, (SPOILER ALERT!!) the killer is different from the book. And I can imagine and even understand the script writer looking at the book and thinking "I can do better . . . This ending doesn't work," but for me that's one change from book to film that can't be overlooked. (Oh, and I can't resist: One reviewer asks repeatedly "Where is Lucas?" Well, he is barely, and I mean barely, in the book upon which this episode is based, so his not being in this episode is OK.)
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.
"Maigret at Montmartre" is based on Simenon's Maigret at Picratt's, a story of the murder of a cabaret dancer. Throughout the film the scenes and conversations provide us, the viewers, various glimpses--windows from varied angles--into the world in which this dancer moved and lived her life. The show follows the book quite well UNTIL the end and that ending prompts me to give this a 7/10 (though I wanted to score it higher as up until the end I was thoroughly enjoying it). I accept that books-to-film/TV often prompts a change in some of the plot, a condensing of conversations, and a cut of some of the characters. (Name one film that sticks to the book exactly. It's not easy to think of one.) Here, though, (SPOILER ALERT!!) the killer is different from the book. And I can imagine and even understand the script writer looking at the book and thinking "I can do better . . . This ending doesn't work," but for me that's one change from book to film that can't be overlooked. (Oh, and I can't resist: One reviewer asks repeatedly "Where is Lucas?" Well, he is barely, and I mean barely, in the book upon which this episode is based, so his not being in this episode is OK.)
