maigret

Gabin returns as Maigret, this time in a nostalgic vein. The countess of St. Fiacre (Valentine Tessier) has received a death threats stating she will die on Ash Wednesday. She calls upon Maigret to return to the village where he grew up and help her with the case. Maigret had a crush on the Countess as a young boy, and the Countess, a warm-hearted woman, enjoyed being the object of it. Maigret ´s father had once managed the Chateau where he will now be a guest and indeed he´s got the Countess to thank for his education. There´s a real fondness and complicity on the ride from the train station to the Chateau between the characters and indeed the actors playing them. It´s lovely.

Screenshot 2019-07-13 at 11.18.13 — The gathering of the suspects à la Poirot

The Countess dies as advertised, in Church, and during Mass no less. But who did it and how? There are lots of suspects: Lucien Sabatier ( Robert Hirsch), a young secretary and confidante gave her an injection the night before and he´s been trying to buy a flat in order to get married and needs money, the young Count (Michel Auclair) has been buying yachts and horses in Paris with money he doesn´t have and he´s being hounded for writing false checks; the village Doctor (Paul Frankeur) hasn´t been taking very good care of her. Many people have their reasons. At the end Maigret does a Poirot, gathers all the suspects for dinner at the Chateau, and reveals who the culprit is.

A slight but very satisfying film, well if unexcitingly directed by Delannoy. Much of the beginning is infused with nostalgia. We get a lovely feel for village life and how it´s changed. Structurally this is developed through a homology between the altar boy and Maigret who used to fulfil the same function in the same place when young. This is also developed by Maigret recognising all the villagers he once new and who tend to recognise him only once they clock his blue eyes (see below). The screenplay is very tightly structured so for example his visit to the Caretaker who has replaced his father in post takes place almost exactly half-way through the film. He also learns that the education of this caretaker´s son has been provided by the Countess, just as she had done for Maigret himself when he was young, and this other homology rhymes and differs with that of the altarboy. We will see that this young bank clerk is no angel. This is a tightly and well-structured film.

It is also a gently paced one, but the pace well seasoned by a sprinkling of suspicion over practically everyone. Everything is seen through corners, doorways and passageways (see above), through the corner of an eye, generally Miagret´s. Thus the film shows clues as partial whilst making everything suspiciously interesting, particularly when the corpse is still upstairs, and parts of it remain visible in the corner of the shot during questioning.

Screenshot 2019-07-13 at 11.10.23

Maigret´s eye of course is observant. And Gabin´s eyes are not only blue, but completely transparent. A look, a shrug, a curt coded phrase. He doesn´t say much but he communicates everything. Perhaps Gabin is at his very greatest in these slight genre pieces where it´s his presence alone that warrants reasons for viewing.

Delannoy doesn´t dazzle visually. He tend towards triangular compositions and, with a few exceptions, one of which you can see below, keeps the symbolism largely at bay.

As you can see from the clip below, Delannoy does know how to film dynamically to keep the image interesting. Here Maigret moves through the newspaper printing presses though to the offices. It´s quite a lot of time to devote to the scene in terms of its import to the plotas a whole. And it´s clear that Delannoy is merely taking pleasure in showing us the workings of the newspaper. And I´m reproducing it here because it induced nostalgia in me. This is how many people even a village paper employed. Look at all the jobs in soldering, laying out the print, typesetting, printing and distribution. Not so long ago all papers functioned this way, and the larger ones, like the Montreal Star I visited as a child, were an industrial marvel to behold. Ahhh. It´s a minor, well-made film that incites all kinds of nostalgia. Gabin is perfect

I have written on two other Maigret/ Gabin films here:

-the previous one with Delannoy:

Italy 1958)

And a later one directed by Gilles Grangier:

Maigret voit rouge (Gilles Grangier, France/Italy, 1963)

An excellent critique of the new release of the blu-ray box-set may be found here:

José Arroyo

maigret voit rouge

A minor Maigret. I’d thought Jean Delannoy’s direction of Maigret tend un piège (France/Italy, 1959) efficient but unexciting. But Gilles Grangier’s work here makes Delannoy seem Jean Renoir in comparison: Maigret voit rouge is visually uninteresting, the plot is recounted in great and very dull detail, often by Gabin, who seems tired, perhaps because he’s been asked to do what is usually relegated to supporting players. Too bad he didn’t feel insulted: it might have given a little fire to his performance. That said, he’s Gabin: he’s always watchable; and there’s Françoise Fabien in an early role as Lily, a gangster’s moll; Michel Constanstin looking like an even more threatening Jack Palance, as Cicero, the American killer; and the always droll Guy Decomble as Maigret’s sidekick, Inspecteur Lognon. The fight and chase scenes are not terrible either. It’s not nothing; but it’s not much.

Kennedy

De Gaulle

The story begins with an unknown person being shot down by a passing car. Inspector Lognon is a witness. But when the police arrive, the body has disappeared. Lognon follows a lead to an American bar and gets badly beaten up on his way out. Inspector Maigret takes over the case, discovers that the bar is run by Pozzo (Vittorio Snipoli) an American of Sicilian origin and that Lily, the Belgian barmaid who works there, is involved with an American and has been hiding his mafiosi buddies. Maigret calls in the help of Harry McDonald (Paul Carpenter), an American diplomat who turns out to work for the BFI. All is not as it seems. Maigret will discover that what’s at stake is a key witness to a Mafia case in the US and he’s got to find him before the American gangsters do.

The film is most interesting when seen from an ideological perspective. Maigret voit rouge is set during the height of the Twentieth Century’s American Empire, and at the very peak of it’s most glamorous moment, the Camelot years of John F. Kennedy’s Presidency. France seems in thrall to everything American (see images at the very bottom): Chicago, gangsters, bowling alleys, transistor radios, Rocky Graziano; jeans, t-shirts and talking as if one’s mouth is full, like Marlon Brando. But there’s always a twist. Here the transistor radio plays jazz. Moreover, though France has reason to be grateful to an America so recently France’s liberator, it’s not just going to roll over and let them take over the country. I wonder how audiences reacted to the clip above where the American says:

‘I warn you I’m going to have to call Washington.’

‘And I warn you that I’ve been obliged to inform the Ministry of the Interior.’

‘It will become a diplomatic incident.’

‘Better then a judiciary error.’

‘This affair is not what it seems. I belong to the FBI.’

‘And I to the PG, each to his business.’

‘But listen to me Jules.’

‘There’s no more Jules. If you want to discuss the affair get in touch with Inspecteur Maigret at Quaie des Orfèvres from 8 o’clock’.

I imagine audiences of the time in France applauded the exchange. Needless to say, there’s a reconciliation at the end with Maigret and McDonald, and thus France and the US, becoming friends once more. But this time on terms set by Maigret. It’s very vividly dramatised and the only element of the film I found fascinating. I’m not surprised that this, Gabin’s third outing as Maigret, was also his last.