Be it deliberately true or not, this bears an unmistakable kinship with crime flicks (including film noir) from contemporary Hollywood. Louis Page's crisp, vivid, dynamic black and white cinematography definitely makes that connection, not least with very particular close-ups and smart, fluid movement. Henri Taverna's shrewd editing produces cuts and sequencing that heightens tension while Jean Delannoy's direction, orchestrating shots and scenes, employs tasteful tracking shots, first-person perspectives, high angles, and other such thoughts that American moviegoers are quite accustomed to in like fare. As the story details efforts by police to pin down a serial killer that is in some measure toying with them, and coming across a peculiar variety of people in the process, the look and feel of 'Maigret tend un piège' is complete. And I think the comparison is fair in one other regard: this is fantastic!
There's marvelous intelligence and detail here all around in how the picture is written and executed, down to a moment so small as a shot of closet doors being shut, or the detective relaxing at the end of the day. This fictional depiction of Paris is made to seem like a living, breathing world with characters of personality and complications, brought to life with terrific, wholehearted performances across the board. Page's cinematography absolutely lends to that notion as well as rich camerawork invites a strong sense of the spaciousness of the superb filming locations, and excellent sets. Providing foundation for all the exquisite craftsmanship, scenes and the narrative at large are written with a delicate finesse that maintains a robust air of mystery about the goings-on, and even adeptly shifts focus over the course of these two hours without ever truly straying from the overall purpose. Facets that are often taken for granted, including costume design, hair, and makeup, look splendid, and Delannoy sagely maintains an overall even tone as the investigation twists and turns - infusing heightened emotions into the proceedings only at those precise moments where it counts the most. There came a point where I was surprised to check and see how much of the runtime was left, but to my delight, 'Maigret tend un piège' doesn't waste a minute of it.
Compelling, enjoyable, and satisfying as the feature is, I can't quite bring myself to say that it's perfect. Though the film makes judicious use of its length and is solidly engaging, I can't help but feel that the pacing is a tad soft; I wouldn't have specifically looked at the digital timer, or been surprised by it, if I weren't feeling these two hours. More substantively concerning are a couple notions broached in the plot - in the second to last big scene, that gives us the last reveals - that reek of ableism and backhanded misogyny. I don't know if this is a reflection of just the adapted screenplay or also of Georges Simenon's novel, but either way there wouldn't have even been any need to significantly change the story or the scene to rectify the matter. Retool the dialogue just a smidgen, and all else is left intact without propagating harmful, antiquated ideas.
Still, if these are the worst critiques to come to mind, then I'd say the movie has done quite well for itself. If a tad imperfect, by and large this holds up wonderfully well, and is as tight and engrossing as any of its genre kin, and as much so now as it was sixty-five years ago. I'm personally fond of the cinematography and the writing above all else, but this is altogether fabulously well done, with keen direction, great acting, and skilled contributions from behind the scenes. I rather think anyone who appreciates crime dramas and thrillers, or even film noir, would feel right at home with 'Maigret tend un piège,' and it seems to me to have earned a blanket recommendation. It may not be singularly striking in any regard, nor a total must-see, but if you have the chance to check out this 1958 film, it's well worth anyone's time.
There's marvelous intelligence and detail here all around in how the picture is written and executed, down to a moment so small as a shot of closet doors being shut, or the detective relaxing at the end of the day. This fictional depiction of Paris is made to seem like a living, breathing world with characters of personality and complications, brought to life with terrific, wholehearted performances across the board. Page's cinematography absolutely lends to that notion as well as rich camerawork invites a strong sense of the spaciousness of the superb filming locations, and excellent sets. Providing foundation for all the exquisite craftsmanship, scenes and the narrative at large are written with a delicate finesse that maintains a robust air of mystery about the goings-on, and even adeptly shifts focus over the course of these two hours without ever truly straying from the overall purpose. Facets that are often taken for granted, including costume design, hair, and makeup, look splendid, and Delannoy sagely maintains an overall even tone as the investigation twists and turns - infusing heightened emotions into the proceedings only at those precise moments where it counts the most. There came a point where I was surprised to check and see how much of the runtime was left, but to my delight, 'Maigret tend un piège' doesn't waste a minute of it.
Compelling, enjoyable, and satisfying as the feature is, I can't quite bring myself to say that it's perfect. Though the film makes judicious use of its length and is solidly engaging, I can't help but feel that the pacing is a tad soft; I wouldn't have specifically looked at the digital timer, or been surprised by it, if I weren't feeling these two hours. More substantively concerning are a couple notions broached in the plot - in the second to last big scene, that gives us the last reveals - that reek of ableism and backhanded misogyny. I don't know if this is a reflection of just the adapted screenplay or also of Georges Simenon's novel, but either way there wouldn't have even been any need to significantly change the story or the scene to rectify the matter. Retool the dialogue just a smidgen, and all else is left intact without propagating harmful, antiquated ideas.
Still, if these are the worst critiques to come to mind, then I'd say the movie has done quite well for itself. If a tad imperfect, by and large this holds up wonderfully well, and is as tight and engrossing as any of its genre kin, and as much so now as it was sixty-five years ago. I'm personally fond of the cinematography and the writing above all else, but this is altogether fabulously well done, with keen direction, great acting, and skilled contributions from behind the scenes. I rather think anyone who appreciates crime dramas and thrillers, or even film noir, would feel right at home with 'Maigret tend un piège,' and it seems to me to have earned a blanket recommendation. It may not be singularly striking in any regard, nor a total must-see, but if you have the chance to check out this 1958 film, it's well worth anyone's time.