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gervase_fenAt this point I think I should say that I haven't read any Simenon, so can only guess at what has been lost in translation so to speak. It's clear from the start though what a fine job Rupert Davies is doing. His Maigret wears his authority lightly, and is by turns compassionate, intelligent, and humble. He has terrific rapport with Ewen Solon, who as Sergeant Lucas embodies loyalty, affection and respect for his patron.
Given that my usual diet of 60s black and white British TV drama on Talking Pictures TV consists of the homespun, amateur charms of No Hiding Place, the first few episodes are clearly streets ahead of that in terms of ambition, performance, production and direction. The opener, Murder in Montmartre, leans into a frisson of downbeat continental sleaze with its strip/clip joint and tragic victim, a mood that the series returns to from time to time (e.g. the decadence of Cannes and the lifestyle of the late William Brown in Liberty Bar). One surprise was the pre-credit sequence, not a format I associate with British TV of this period, but presumably a creative decision made with an eye on international sales.
Random observations on January's subsequent episodes....
Unexpected Departure is anchored by a trio of excellent performances from Pamela Brown, Peter Copley and Charmian Eyre, trapped in their own huis clos. Rupert Davies is at his most empathetic, and Neville Jason as the eager to please, rookie detective Lapointe has a memorable visit to a lingerie salon.
The Burglar’s Wife – another standout guest performance, this time from Hugh Burden as a dentist with family secrets. This rings the changes on the format by anticipating Columbo to a degree. This was the first episode whose strengths made me want to rewatch it straightaway, to appreciate the nuances of Hugh Burden's performance, but it also demonstrates the weaknesses of author/estate licensed adaptations – there is just too much plot to cram in to 50 minutes running time (cf. Chorion and Christie.)
The Revolver – Maigret in London, a cue for some broad comic business, a mugging performance by Peter Stephens and a serious turn from the future Mrs Pumphrey of All Creatures Great and Small (Classic Edition). Incidental comedy music occasionally threatens to break into the Inspector Gadget theme thirty years ahead of schedule. The plot, revolving around blackmail, suicide and attempted murder, seems to have been pared down so much in production that Maigret's deductions come across as illogically intuitive. A bit of a dud, I'm afraid.
It's been a treat to see one of the great television performances of the 1960s - Rupert Davies, like Patrick Wymark in The Plane Makers/The Power Game, is always authentic and in the moment.
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Date: 2022-02-14 06:54 pm (UTC)