User reviews

Slow pacing, gloomy atmosphere, linear plot, nothing original in a crime story.

Yet, it's a beautiful movie, perfectly executed.

Depardieu has a presence, seemingly effortless. Patrice Leconte has an entire career to show for.

All in all, a good movie.

Maigret's authenticity in every aspect is most remarkable. Expressive visuals of a decay to which dreamers flock. A hulking father too old and worn to save daughters of the city presented with a effortless performance. Though it's origins are infrequent Maigret is a welcoming experienced experience .

Methodical, old-fashioned whodunit, with perhaps the no 1 icon of French cinema for the past 4 or so decades finally playing perhaps the most iconic French detective in film history. And he is perfect as an old, down but not out Maigret; capturing his weariness from the passage of time, but also his determination to see justice done one more time. The mystery is short on suspects, but I liked the script's step-by-step structuring, with each small clue leading Maigret to the next one. Leconte does a fine, atmospheric job; with him at the helm, Depardieu in the main role and a more complicated script, the next Maigret movie (assuming it gets made) should have real potential. *** out of 4.

Gérard Depardieu takes up the pipe to play the indefatigable commissaire Maigret. He is such an obvious casting choice with his understated intelligence, gentle wit, and hulking physique that it's a wonder he hadn't played the part before. At age 73, he is quite obviously too old for the part. He spends most of the movie leaning or sitting down and the few times we see him walk he seems barely able to amble along. But this seems to be how director Patrice Leconte has reimagined the character anyway.

His Maigret is an old man, easily tired, contemplating his mortality. He is introduced while in the middle of a doctor's appointment. He's in fine physical health we're told but the weight of the world seems to be on his shoulders. No, this Maigret is not alright. There's something severely wrong with him, a kind of emptiness eating him from the inside. He's dying and he's aware of it.

Another obvious fit for a Maigret movie is director/writer Patrice Leconte who had previously made the superb Simenon adaptation "Monsieur Hire". His direction here is curiously frigid, styleless and distant. This is not an easy movie to watch. It's so weighed down with sorrow that it becomes downright oppressive. It plays out in vast open spaces cluttered with garbage - long discarded, broken things, once useful now forgotten and in the way. His Paris resembles a post-apocalyptic wasteland which, like the one in Richard Lester's "Bed Sitting Room", bears certain signs that it was once inhabited by a civilization.

A clue as to Leconte's artistic intentions is hidden in a sombre and impactful scene in which Maigret interviews an elderly Jewish man (André Wilms) looking for a daughter he'll never find. He sits in his office surrounded by antique chairs stacked on antique desks and wrapped in cobwebs and dust. "When you lose your child you lose everything," he says, "There's nothing left. Only the night."

The plot follows Maigret as he investigates the death of a young woman found stabbed and discarded on the street like a piece of trash. He doesn't know her name or anything about her but slowly, by following the smallest clues, he pieces together her entire personality. Before he even identifies her he can say things like "she would never do that" with absolute certainty.

He finds this out by talking to various people, some of whom knew her, some of whom didn't, and some of whom are lying they didn't. These people include an actress who isn't an actress living her life on sets opening fake doors, a rich and arrogant man who lives with his mother and relies entirely on her platitudes, a judge obsessed with his pet fish, and a pharmacist who issues drugs based on her customer's faces.

The performances are excellent especially that of Jade Labeste as Betty, a poor girl Maigret encounters on the streets and whom he is determined not to allow to suffer the same fate as the girl whose death he is investigating. Labeste's charismatic, world-weary performance is the standout of the film and has a certain classical quality that reminded me of the French cinema of the 1960s. I can't wait for her to lead a film all on her own.

These small characters are the most important and their plights and the world they inhabit together are at the centre of the film. In that sense, this is one of the most accurate Simenon adaptations. What Leconte's film doesn't manage, however, is the delicate balance between character study and thriller.

Simenon knew that his psychological treatise needed a solid motor in the form of a mystery plot to keep the readers interested and the story on track. Leconte, in building up the characters, far too often lets the plot fall by the wayside. The result is a film which is intriguing and atmospheric but frequently aimless, uneven and taxing on its audience's patience.

He has little interest in the whodunnit aspect of the story which results in "Maigret" lacking a solid framework and, more importantly, a sense of narrative propulsion. Consequently, the pacing suffers, feeling alternatively too slow or too fast depending on Leconte's interest in the given scene. Exposition is quickly dealt with and the plot frequently gets muddy.

In "Maigret", I admired the ambition more than the result and the whole is less than the sum of its parts. The production design, the idea, and the performances are all superb but the film collapses under its own weight. It's a dour, depressing, hopeless sit without a strong narrative to buoy its heady artistic intentions.

Mystery, suspense, intrigue with terrific performance by Gerard Depardieu-Maigret , giving life to his determined-serious-exhausted "commissaire" , investigating the identity of some ruthless and mean murderers . As always, this film occurs in Paris, and surroundings , there happens a grisly killing . In Paris, a young girl is found dead in a Parisian square, wearing an evening dress. Commissioner Maigret will try to identify her and then understand what happened to the victim. Maigret's officers are the expert elite of the Brigade Criminelle at the Quay Des Orfevres. To help solve the murders Maigret leaving fake tracks . By the way , discovering sartorial evidence against an allegedly guilty . Detective Maigret becomes extremely involved into investigation and pulls off a cat and mouse game with the killer . The obstinate inspector winds up pitting a stubborn rival against each other in order to destroy him in a relentless investigation .

This is an acceptable and attractive study in crime displaying thriller , tension , plot twists and being entertaining enough, though some moments result to be slow-moving and dull . Here Maigret is called upon to lend its expertise in tracking down a twisted killer , as he is resolute in investigating the astonishing crime and about an obscure anonymous Parisian, an investigation that ultimately links clues and he solves it . Mysterious events , red herrings , grisly murder , suspenseful happenings with awesome acting by Depardieu-Maigret investigating the murderer's identity , along with Aurore Clement who many years earlier played in Coppola's Apocalypse Now and he even sets a trap to catch the murderer . The pace is good , alert , nimbly done . This movie is concise , sharp , practical , each actor is cut out for the part . Interesting and exciting battle of wits between the intelligent detective and his contender. The story explores the dynamics of pathological behaviour and very much in the style of psychoanalytic descriptions fitting fairly to George Simenon novels . The camera-work is sleek , but what actually makes this film a major work is that the authors are true to the spirit of Simenon : peculiar roles tremendously affected into the deeps of human desperation , as the obstinate Maigret and murderers disillusioned with human nature and terrible with those who are victims . Casting is frankly well . Stars veteran Gerard Depardieu , here he plays the character in such a vibrantly nuanced manner, as that of a man who is measured, but very engaged in walking the streets and getting into the nitty gritty of each case . Gerard Depardieu as obstinate detective is top-notch, the film benefits from his great interpretation . Depardieu is perfectly cast as the world-weary Police Inspector who is pondering retirement when the re-emergence of grisly killings and then back into action with a supremely clever plan to trap the murderer . It packs a dark and shading cinematography who shows splendidly the Paris streets , though mostly made in studios, and exteriors filmed on location in Quai de Bourbon, Paris 4, Paris, Rue Saint-Vincent, Paris 18, Paris, Square Alboni, Paris 16, Paris, Studios de Bry - 2 avenue de l'Europe, Bry-sur-Marne, Val-de-Marne . The motion picture was professionally directed by Patrice Leconte . He proves a past master at creating a stifling , murky atmosphere night scenes, foggy streets , managing to make the tension rise and swell regularly until it explodes at the ending . Leconte is a prestigious writer and director who has made notorious films , such as : Ridicule , The Man on the Train , Felix and Lola , Tango Mortale, Yvonne's fragrance, Monsieur Hire , The was of the Misses , The girl on the bridge , among others.

This Psychological Suspense story is based on George Simenon legendary detective , being one of the most-adapted Simenon stories . George Simenon's Maigret has been adapted on several cinematic rendition and TV series . As Maigret was played by Basil Sidney ( The lost life,TV, 59) , Gino Cervi (Maigret in Pigalle, 67) , Rupert Davies (series from 60s) , Richard Harris (TV, 1988), Michael Gambon (TV,1993) , Sergio Castellitto (2004) . But specially by Jean Gavin who played 'Maigret tend un piège' (1958) , 'Maigret and the St Fiacre case (59)' , among others . In Hollywood was realized by Burguess Meredith 'The man on the Eiffel tower' (1949) with Charles Laughton as Maigret . And the usual comical actor Rowan Atkinson played Maigret in 4 episodes with special mention for ¨Maigret sets a trap¨ (2016) with Rowan Atkinson , Luci Cohu , Shaun Dingwall , Fiona Lewis . Rating : Acceptable and passable and worth watch checking out. The movie will appeal to Gerard Depardieu fans and intrigue lovers , as it contains a highly suspense.

If you really want to see a good Maigret in amazing Simenon's stories, have a look on Bruno Cremer acts or Jean Gabin.

Depardieu is a little bit to sleepy and fat (sorry no offence) to really catch our attention.

The story is good enough to be invested in the movie, actors are great too but I don't know why there are so many shots with weird little zoom and shaky cam. It doesn't seem to evoke anything, just a terrible way to shoot and direct..

Louise (Clara Antoons) is renting a very expensive dress to attend her friend Jeanine's (Melanie Bernier) engagement party. She is being engaged to Laurent Clermont (Pierre Moure), a party hosted by his mother (Aurore Clement). Louise is not welcome, and is being threatened by Jeanine and Laurent.

The next morning, Louise is found in the streets, dead, stung with a knife. Commissioner Maigret (Gérard Depardieu) is taking over the case. He's not a young man anymore and has just been told by his doctor to drop his favourite pass time thing, smoking his pibe. That really doesn't help how he feels at the moment, he's never hungry, can't sleep, he's in quite a bad mood.

He really doesn't have a clue about the victim, not her name nor her address. Finding a medicine bottle, he finds out where Louise lived. There he meet Jeanine for the first time. She's an actor, and after meeting Louise on a train, she helps her to a place to stay, and a bit of work at the film studio.

Knowing that about Louise, Maigret tries to fit the pieces together, trying to find out more about the life of the murdered girl. He therefore tries to find a girl with just about the same characteristics, that's how he meets Betty (Jade Labeste). She's earning her money through prostitution. She has nowhere to live, but Maigret brings her to the available apartment of Louise's. They somehow forms a kind of friendship, and to solve the case, he luckily gets her help. Coming up with the quite surprising ending.

Maigret has been played by a lot of actors, Rowan Atkinson being the latest with a TV series. Here in 2022 he's being played by Depardieu, who's visibly are getting older. He's bringing a very slow walking Maigret to the streets of Paris. As always he plays very convincingly. But overall the best performance must be Jade Labeste's portrait of Betty. A film worth watching.

Depardieu plays in this movie a french detective, but he doesn't play Maigret. Slow and boring movie, good actors, but Depardieu seems had never read a book of George Simenon. Maybe his intention was not to copy Jean Gabin or Gino Cervi, but if I go the movie to see Superman, my expectation is to see him flying. In this movie I haven't seen Maigret. For example, an Epicurean lover of food and good drinking is here on a diet, he does not smoke a pipe. Depardieu is too fat and immobile to try to transfigure the famous policeman. Depardieu here seems too sad and unhappy, but, I repeat, he's not Maigret.

Maigret doesn't take shortcuts to solve cases. He takes his time and mostly watches and listens. He needs to understand the victim, the suspects and the witnesses to bring out their motivations and their deeds.

In the same way, director Patrice Leconte avoids action scenes, sub-plots, narration twists. His elegant editing, use of zoom and close-ups follow Maigret's eye and make us "enter" the characters. We feel what they feel.

We experiment the magic of cinema and this is what matters, way more than the actual solution of the puzzle. Leconte quotes Hitchcock ("Vertigo" and "Rear Window") and let Depardieu give us an unforgettable performance.

I was not that convinced by this adaptation of George Simenon's most known character. I expected a bit more from Gerard Depardieu as Maigret. Depardieu doesn't seem that much concerned, involved in this role, I don't know how to explain exactly why. Just superficial in his face, gesture, and the overall atmosphere did not convince me that it was a great film. Patrice Leconte is a vet director in France, since more than forty years now, he knows his job. But if you crave for investigation topics, fan of George Simenon's books, Maigret's adventures in particular, or simply Depardieu's roles, so watch it, it's not a bad movie. After all, the most known of French actors had never played this character, a milestone in the French literature.

From the director of the excellent Monsieur Hire - still one of the best Simenon adaptations - you certainly expect more than this tired, geriatric and rather pedestrian treatment. It's all very dark bluish, with unsteady camera, listless performances and general air of fatigue (it opens with Maigret's visit to the doctor).

It's a pity Lecont and Depardieu couldn't make Maigret sooner, in their better years (the novel was filmed before - much more lively if not particularly excitingly - with Jean Richard in 1973).

A rather fine film although there is very little excitement, until at the start and the end, also the tale is rather sad and we really have no wonderful Paris but it is moody and melancholic although the scenes between Maigret and Madam and his food are rather good. Patrice Leconte is now 76 but he still has the touch and there is some humour especially with Ridicule (1996) with games and wit at the court of Versailles. The Hairdresser's Husband (1990) splendid and sexy and the wonderful Monsieur Hire (1989) a peeping Tom also best of a Simenon story. Gerard Depardieu is great in this and in his later films many have been very good and I really liked him in Welcome to New York (2014) directed my Abel Ferrara surrounding the events of Dominique Strauss-Kahn's attack of the maid. I loved the TV Maigret series in the early 60s starring Rupert Davies and some of the exteriors filmed in Paris which was marvellous and the new film is not as pretty but still interesting and telling a tale set in the 30s.

No pun intended - this is not Sherlock Holmes ... I mean obviously right! The name alone and all that. Just to clarify I have not delved into the history and legacy of the Maigret character, so I can't tell you how rich or not it is. And how close this is to the source material. I can only judge this with fresh eyes and with a Depardieu in the main role.

Hopefully you can see him as a character and not already judge him on all the stories and rumors that exist around him. Privately there seem to be some issues to put it mildly. I know this is not supposed to play a role, but we are all human - as is the character! There is no fancy solving or fast solving cases here ... if you dig detective stuff ... well give it a try.

With a competent cast of experienced actors you would have expected a better story. Instead it plodded on until you were hoping for it to end. When it finally did come to a conclusion it wasn't worth the wait.

I like watching Gérard Depardieu lumbering about in movies. Before I really knew him I saw DANTON (1983) and I was amazed by how this bear of a man filled the screen. He was incandescent. I have since seen him in many roles where he has outshone the other cast members. MAIGRET is a good looking film and the set up is interesting but it was sooo very disappointing. It just peters out to something neither dramatic or of any kind of consequence. We were left asking each other, 'So, that's it?'. I was expecting so much more. A twist perhaps? I understand the character is a much loved fictional French detective but he's no Poirot! At least not as depicted in this movie.

The story is interesting, performances really great and the resolution is satisfying. Dépardieu's performance is characteristically good. The art direction is ere-appropriate and the pacing of the story keeps the viewer interested. Unfortunately, the cinematography is distracting. Every scene - even the most simple conversation - is marred by unnecessary camera movement, drawing attention to the camera work rather than the story. Even worse, there are dramatic moments of the story that are largely rendered unintelligible by inexplicable camera movement and sloppy editing. A potentially interesting story ruined by poor camera work and direction.

Gerard DEPARDIEU (ACADEMY AWARD nomination in 1991 for CYRANO DE BERGERAC) is a monument of French cinema and at the same time a very controversial figure, and rightly so. Having him play Inspector Maigret by Georges SIMENON is an excellent choice.

A young starlet (Clara ANTOONS) from the French film factory in Billancourt (near the Bois de Boulogne) is found dead. Accident or murder? The melancholic Maigret (DEPARDIEU), who is already struggling with his health, takes in the weather. His investigations soon focus on the young starlet Jeanine (Melanie BERNIER), who is about to marry the son (Pierre MOURE) of the rich Madame Clermont-Valois (Aurore CLEMENT). But only with the help of a stray (Jade LABESTE) does Maigret get closer to solving the case...

The French director Patrice LECONTE (ACADEMY AWARD nomination in 1997 for RIDICULE) creates a coherent new edition of the Maigret cases. According to IMDb, the film has so far grossed $5.9 million (as of July 2023) at the worldwide box office. It is questionable whether that is enough to continue. I still hope that DEPARDIEU will make it to a total of three Maigret appearances like Jean GABIN once did!