The popular French curator who is the protagonist of several crime novels of international importance is played by Gerard Depardieu, the ideal face to emphasize the existential fatigue of the investigator, created by Georges Simenon
A deep melancholy pervades this special adaptation of one of the cases of the famous French commissary, created by the novelist Georges Simenon. Starting with ‘Maigret and the Dead Girl’, Patrice Leconte, French director, screenwriter and actor, with extensive experience, especially in the fields of comedy, betting on drama and atmosphere, initiated an investigation which, as in all good thrillers, is the perfect excuse to portray human behavior. The filmmaker’s career includes recognized titles such as ‘Monsieur Hire’, ‘The Hairdresser’s Husband’, ‘The Girl on the Bridge’ or ‘The Man on the Train’, all of which have achieved international success. Here he mainly focuses on the figure of the lead investigator, a weary man disenchanted with the lack of empathy that surrounds him, horrified by the latest crime he must solve. An anonymous young girl is found stabbed to death in 1950s Paris. She is dressed in an expensive and elegant costume with an exclusive design, but the first investigation into the tragedy shows that the girl barely had anything in her mouth. Skinny, almost starving, her beauty and frankness intoxicate the policeman, embodied with an overwhelming physique by the great Gerard Depardieu.
‘Maigret’ is old-fashioned film noir, atmospheric, although Leconte occasionally pulls on zoom and nervous camera movements to keep his footing in the new century. These resources contribute to the confusion that the protagonist sometimes shows, a sensitive topic that has to do with terror on the streets of the French capital on a daily basis. It is normal for him to feel sorry for the victims, but the feeling of sadness is weighing on him more and more. Accurate in the twilight of his character, Depardieu becomes a paternalistic type for whom life is more and more surrounded by stupidity. Memory collects terrible events that he evokes with each murder and the intrigue he has inevitably reminds him of a passage in his own history. The 1950s portrait, as well as the use of the soundtrack, help create an environment that is as refined as it is sordid when it plays. Aurore Clément (“Barbara”), Mélanie Bernier (“Behind the Wall”), Jade Labeste (“Nosvies formidable”) and Anne Loiret (“Promises of Paris”) accompany the experienced French star in his act, on whose shoulders en semblante is supported by a recommendable film, at an acceptable pace, with a parade of notable supporting performers.
Source: La Verdad
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