This newest incarnation of Georges Simenon’s detective should satisfy fans of the novels and entertain those not familiar with him.
Not for the first time I feel as if my reading habits might be working against my ability to enjoy a film as film.
The Maigret novels are spare and unpretentious, with an immaculate sense of detail and a mastery of psychology that left more prestigious authors gasping. André Gide and François Mauriac, both Nobel Prize winners, were fans who openly confessed their envy and admiration. Following a trail of novels that stretches from the 1930s to the 1970s, we watch Maigret ageing, looking forward to retirement with hope and trepidation. We see the human sympathies and anxieties that lie beneath the unflappable public persona. We become familiar with his drinks and his pipes; with the strange warmth he feels towards some of the old, harmless criminals he encounters, like one long-term professional dealing with another.
It would be foolish to complain too much because it’s virtually impossible to make a successful adaptation of a book without significant changes. The bigger question is whether the changes remove something essential or add an incongruous element.
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