Maigret Sets a Trap
- Episode aired Aug 31, 2019
- 1h 27m
Chief Inspector Jules Maigret hunts for a serial killer.Chief Inspector Jules Maigret hunts for a serial killer.Chief Inspector Jules Maigret hunts for a serial killer.
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- TriviaOne of the most-adapted Simenon stories; it was also adapted as the penultimate episode of Season 3 of the BBC's "Maigret" series in the 1960s, starring Rupert Davies and as the final segment of Season 1 of the ITV series of the 1990s starring Michael Gambon. It was filmed in France in 1958 with Jean Gabin and has been adapted for French and Italian television.
- GoofsDuring scenes where there's flash-photography, modern capacitor driven flashes, with multiple sequential flashes from the same flash-gun occur. At the period the film is set magnesium flashbulbs were the standard, which have to be replaced for every shot. These scenes ought to have had much fumbling trying to remove and replace dead glass bulbs, and been accompanied by loud pops as each flash exposure was made, and the crunch of glass underfoot, as reporters usually just dropped them.
- ConnectionsFeatured in Too Much TV: Episode #1.21 (2016)
- SoundtracksMaigret Sets A Trap
by Samuel Sim
Featured review
Mildly Entertaining Thriller
Watching another version of Maigret inevitably prompts comparison between Rowan Atkinson's interpretation of the role and that of previous actors: Rupert Davies and Michael Gambon on television, Maurice Denham and Nicholas le Prevost on radio. While lacking the physical and vocal presence of all of these actors, Atkinson brings a quiet dignity to the inspector's personality; a police officer remaining unflappable even in the face of adversity, such as the prospect of being removed from the case due to an inability to obtain quick results.
The plot of MAIGRET SETS A TRIP is less of a whodunit and more of a whydunit. We know quite early on in the episode who the murderer is; what matters is to find out precisely why they should have decided to kill innocent women. When Fiona Shaw appears as the suspect's mother, in a highly florid characterization full of tragic expressions and melodramatic gesture (inviting a Freudian interpretation of her relationship to her son), we can understand the victim's behavior.
Stewart Harcourt's script contains some clunky dialogue (one particular nugget occurs when Maigret says "take care" to a group of plain- clothes female police officers who are about to go on the streets of Montmartre, thereby putting themselves in danger of being attacked by the murderer). Yet Simeonon's source-text is so astutely structured that it emerges intact, despite the screenplay's best efforts to ruin it. We sympathize with Maigret as he patiently fits the evidence together, asking all the right questions and coming to conclusions as a result.
Filmed mostly in Budapest, standing in for Fifties Paris, apart from some location shots in Monmartre, Ashley Pearce's production reinforces familiar stereotypes about the French capital as a place for lovers, or citizens prepared to spend their days sitting outside in cafés watching the world go by. The period atmosphere is meticulously recreated, although it seems just a little too chocolate-box like on occasions.
This episode ends with a shot of Maigret walking away from camera along a tree-lined road (the Jardin des Tuilieries, perhaps?), thereby reinforcing the familiar tele-stereotype of the detective forced to live a solitary life in his efforts to solve crimes. This version of MAIGRET might have its faults, but it is sufficiently watchable to encourage us to watch further episodes.
The plot of MAIGRET SETS A TRIP is less of a whodunit and more of a whydunit. We know quite early on in the episode who the murderer is; what matters is to find out precisely why they should have decided to kill innocent women. When Fiona Shaw appears as the suspect's mother, in a highly florid characterization full of tragic expressions and melodramatic gesture (inviting a Freudian interpretation of her relationship to her son), we can understand the victim's behavior.
Stewart Harcourt's script contains some clunky dialogue (one particular nugget occurs when Maigret says "take care" to a group of plain- clothes female police officers who are about to go on the streets of Montmartre, thereby putting themselves in danger of being attacked by the murderer). Yet Simeonon's source-text is so astutely structured that it emerges intact, despite the screenplay's best efforts to ruin it. We sympathize with Maigret as he patiently fits the evidence together, asking all the right questions and coming to conclusions as a result.
Filmed mostly in Budapest, standing in for Fifties Paris, apart from some location shots in Monmartre, Ashley Pearce's production reinforces familiar stereotypes about the French capital as a place for lovers, or citizens prepared to spend their days sitting outside in cafés watching the world go by. The period atmosphere is meticulously recreated, although it seems just a little too chocolate-box like on occasions.
This episode ends with a shot of Maigret walking away from camera along a tree-lined road (the Jardin des Tuilieries, perhaps?), thereby reinforcing the familiar tele-stereotype of the detective forced to live a solitary life in his efforts to solve crimes. This version of MAIGRET might have its faults, but it is sufficiently watchable to encourage us to watch further episodes.
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- l_rawjalaurence
- Apr 1, 2016
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