{"id":46461,"date":"2022-03-02T09:07:54","date_gmt":"2022-03-02T08:07:54","guid":{"rendered":"https:\/\/leregardlibre.com\/?p=46461"},"modified":"2025-12-04T22:23:38","modified_gmt":"2025-12-04T21:23:38","slug":"maigret-depardieu-au-rythme-de-la-melancolie","status":"publish","type":"post","link":"https:\/\/leregardlibre.com\/de\/kino\/filme\/maigret-depardieu-au-rythme-de-la-melancolie\/","title":{"rendered":"\u00abMaigret\u00bb: Depardieu im Rhythmus der Melancholie"},"content":{"rendered":"<p><em>Film-Mittwochs -\u00a0<a href=\"https:\/\/leregardlibre.com\/de\/tag\/jordi-gabioud\/\">Jordi Gabioud<\/a><\/em><\/p>\n\n\n\n<p class=\"has-drop-cap\"><strong>Der schwarze Mantel, der Filzhut, die dunkle Silhouette von Kommissar Maigret, umrahmt von seiner wei\u00dfen Aura, roch schon auf dem Plakat nach altem Tabak aus den Bistros. Was kann er dem Zuschauer nach fast einem Jahrhundert im Dienst und mehr als 25 Gesichtern auf der Leinwand noch bieten? Die Antwort finden Sie in dieser neuen Umfrage.<\/strong><\/p>\n\n\n\n<!--more Lire la critique (en libre acc\u00e8s)-->\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"MAIGRET Bande Annonce (2022) G\u00e9rard Depardieu\" width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/YbqfhUC6Wzs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Une nuit parisienne, une jeune femme sans identit\u00e9 avec une robe de soir\u00e9e trop ch\u00e8re pour elle est retrouv\u00e9e morte. Elle a \u00e9t\u00e9 violemment poignard\u00e9e \u00e0 plusieurs reprises. Voil\u00e0 les pr\u00e9mices de la nouvelle enqu\u00eate d\u2019un commissaire Maigret plus m\u00e9lancolique que jamais. Incarn\u00e9 par G\u00e9rard Depardieu, Maigret cherchera \u00e0 faire la lumi\u00e8re sur l\u2019identit\u00e9 de la victime et sur les coulisses de ce drame.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>Le d\u00e9pouillement d\u2019un genre<\/strong><\/h3>\n\n\n\n<p>Le cin\u00e9ma renoue ces derniers temps avec le film d\u2019enqu\u00eate, pouss\u00e9 par des productions hollywoodiennes comme <em><a href=\"https:\/\/leregardlibre.com\/de\/kino\/das-verbrechen-von-lorient-express-bleiben-wir-bei-der-ersten-lesung\/\">Le Crime de l\u2019Orient-Express<\/a><\/em> (2017) ou le sympathique <em><a href=\"https:\/\/www.imdb.com\/title\/tt8946378\/\">Knives Out<\/a><\/em> (2019). Ces deux succ\u00e8s ouvrent les portes \u00e0 de v\u00e9ritables franchises comme en t\u00e9moignent leurs suites annonc\u00e9es. Ce genre, tr\u00e8s ludique, offre de nombreuses possibilit\u00e9s esth\u00e9tiques et narratives. <em>Knives Out<\/em> l\u2019avait notamment d\u00e9montr\u00e9 en inversant le point de vue traditionnel \u00e0 ce genre de films: ici, le (faux) coupable nous \u00e9tait donn\u00e9 d\u00e8s le d\u00e9but et il s\u2019agissait de berner au mieux l\u2019inspecteur. <em>Maigret<\/em> prend \u00e0 contre-pied cette \u00e9volution du genre en rejetant toute innovation pour y pr\u00e9f\u00e9rer les fondamentaux.<\/p>\n\n\n\n\n\n<p>Dans le film qui nous int\u00e9resse, c\u2019est l\u2019axe de l\u2019intimisme et de la sobri\u00e9t\u00e9 qui a \u00e9t\u00e9 choisi par Patrice Leconte. En r\u00e9ponse aux mastodontes outre-Atlantique, il rappelle que le genre permet de divertir sans s\u2019engouffrer dans cette \u00e9ternelle course \u00e9reintante du grand spectacle. La force du film d\u2019enqu\u00eate r\u00e9side dans la fascinante sobri\u00e9t\u00e9 de ses artifices. Le meurtre est intelligent lorsqu\u2019il est \u00e0 la port\u00e9e du premier venu et pourtant assez complexe pour \u00eatre r\u00e9solu non pas par l\u2019intelligence d\u2019une profession mais par l\u2019instinct surnaturel d\u2019un individu qui le paie par sa marginalisation. Un savant \u00e9quilibre du crime jamais tout \u00e0 fait parfait.<\/p>\n\n\n\n<p><strong>Lesen Sie auch | <a href=\"https:\/\/leregardlibre.com\/de\/kino\/reminiscence-laissera-t-il-une-trace\/\">R\u00e9miniscence laissera-t-il une trace?<\/a><\/strong><\/p>\n\n\n\n<p>Face \u00e0 un Kenneth Branagh ou \u00e0 un Daniel Craig, tous deux dans la tranche d\u2019\u00e2ge id\u00e9ale pour incarner la figure de l\u2019inspecteur chevronn\u00e9 mais encore par\u00e9 aux courses-poursuites, G\u00e9rard Depardieu apporte \u00e0 son personnage la vieillesse et la lassitude. Maigret se sent vieux, songe \u00e0 la retraite, n\u2019a plus d\u2019app\u00e9tit et doit cesser la pipe sur ordre de son m\u00e9decin. Il se laisse porter par son enqu\u00eate plus qu\u2019il ne la dirige, comme en t\u00e9moigne son \u00e9change avec une jeune fille des quartiers lui demandant comment il fait parler les suspects \u00e0 laquelle il r\u00e9pond qu\u2019il attend simplement qu\u2019ils parlent.<\/p>\n\n\n\n\n\n<p>C\u2019est ainsi que l\u2019enqu\u00eate de <em>Maigret<\/em> se pr\u00e9sente comme un retour \u00e0 ses fondamentaux: le myst\u00e8re sans rebondissements, les personnages sans double-jeu, le meurtre sans r\u00e9cidive. C\u2019est un v\u00e9ritable d\u00e9pouillement du genre pour n\u2019en retenir que la substantifique moelle et nous laisser appr\u00e9cier le plaisir du t\u00e2tonnement. C\u2019est m\u00eame l\u2019occasion de d\u00e9noncer tous ces artifices inutiles lors d\u2019une visite des d\u00e9cors d\u2019un studio, o\u00f9 chaque porte m\u00e8ne \u00e0 un mur. D\u00e8s lors, pourquoi multiplier les portes?<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><strong>A la fronti\u00e8re du d\u00e9pouillement, l\u2019aust\u00e9rit\u00e9<\/strong><\/h3>\n\n\n\n<p>H\u00e9las, si les intentions sont bonnes, le r\u00e9sultat se pr\u00e9sente en demi-teinte. L\u2019enqu\u00eate semble trop souvent avancer selon le bon vouloir du sc\u00e9nario plut\u00f4t que gr\u00e2ce \u00e0 l\u2019instinct de notre commissaire. Elle comporte ainsi son lot de situations hasardeuses, d\u2019informations d\u00e9livr\u00e9es un peu trop maladroitement et de d\u00e9ductions simplistes. Heureusement, la mise en sc\u00e8ne parvient \u00e0 dynamiser ce sc\u00e9nario un peu trop appauvri \u00e0 travers une tr\u00e8s belle reconstitution des ann\u00e9es d\u2019apr\u00e8s-guerre et un sens du cadre toujours affut\u00e9 m\u00eame s\u2019il est impossible de ne pas condamner l\u2019unique trait esth\u00e9tique s\u2019\u00e9loignant des carcans classiques: cette \u00e9trange volont\u00e9 d\u2019accentuer certaines r\u00e9actions aux moyens de l\u00e9gers zooms saccad\u00e9s sur les visages des personnages. Notre attention est alors moins focalis\u00e9e sur les informations soulign\u00e9es que par le soulignage grossier de la r\u00e9alisation.<\/p>\n\n\n\n\n\n<p>Mais le principal coupable \u00e0 ce crime de demi-teinte semble \u00eatre G\u00e9rard Depardieu lui-m\u00eame. On aurait pu penser qu\u2019il serait id\u00e9al pour incarner la figure mythique du commissaire Maigret dans un registre m\u00e9lancolique. Son regard souvent perdu dans les ab\u00eemes, son maniement d\u00e9licat de l\u2019intonation offrent en effet quelques moments v\u00e9ritablement touchants. Malheureusement, il a trop souvent le verbe p\u00e2teux et le geste mou \u00e0 tel point que la l\u00e9gende semble offrir ici un minimum poli et \u00e0 peine ti\u00e8de. Aucune sc\u00e8ne ne vient contrebalancer cet \u00e9tat, apporter un \u00e9clat passager, au point o\u00f9 le film semble avoir confondu m\u00e9lancolie et aust\u00e9rit\u00e9.<\/p>\n\n\n\n<form method=\"post\" action=\"https:\/\/newsletter.infomaniak.com\/external\/submit\" class=\"inf-form\" target=\"_blank\"><input type=\"email\" name=\"email\" style=\"display:none\" \/><input type=\"hidden\" name=\"key\" value=\"eyJpdiI6IlZXRVJGMlRGQUU2alNqUE81bitIUk5adnNVa0c4MllFTStzOHdHT1FQZ3c9IiwidmFsdWUiOiJIYzhwMUVCK1pTNnlhY3MyMmhuZlhReWJqemEwNk93blMxTjFHc0s2VHZrPSIsIm1hYyI6ImVhYTQ5N2I1M2NiYWE4NzBmNjk2NzgzYjliM2Y5NmYzM2E2ZmU3NGQxNTU1ZDFkMTU1MzY5NTdjYjE3ZTJmNTUifQ==\"><input type=\"hidden\" name=\"webform_id\" value=\"7291\"><style> .inf-main_3000311ca56a1cb93397bc676c0b7fff{ background-color:#f5f5f5; padding:25px 20px; margin:25px auto; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-content { margin-top:13px;} .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff span, .inf-main_3000311ca56a1cb93397bc676c0b7fff label, .inf-main_3000311ca56a1cb93397bc676c0b7fff input, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-success p a { color:#555555; font-size:14px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4{ font-size:18px; margin:0px 0px 13px 0px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff h4, .inf-main_3000311ca56a1cb93397bc676c0b7fff label{ font-weight:bold; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input { margin-bottom:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff label { display:block;} .inf-main_3000311ca56a1cb93397bc676c0b7fff input{ height:35px; color:#999999; border: 1px solid #E9E9E9; border:none; padding-left:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error label, .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message{ color: #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error input{ border: 1px solid #cc0033; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input input { width:100%;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-input.inf-error span.inf-message { display: block; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit { text-align:right;} .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input{ background-color:#777777; color:#ffffff; border:none; font-weight: normal; height:auto; padding:7px; } .inf-main_3000311ca56a1cb93397bc676c0b7fff .inf-submit input.disabled{ opacity: 0.4; } .inf-btn { color: rgb(85, 85, 85); border: medium none; font-weight: normal; height: auto; padding: 7px; display: inline-block; background-color: white; box-shadow: 0px 1px 1px rgba(0, 0, 0, 0.24); border-radius: 2px; line-height: 1em; } .inf-rgpd { margin:25px 0px 15px 0px; color:#555555; } <\/style> <div class=\"inf-main_3000311ca56a1cb93397bc676c0b7fff\"> <h4>NEWSLETTER DES FREIEN BLICKS<\/h4> <span>Erhalten Sie unsere Artikel jeden Sonntag.<\/span> <div class=\"inf-success\" style=\"display:none\"> <h4>Ihre Anmeldung f\u00fcr unseren w\u00f6chentlichen Newsletter wurde erfolgreich registriert!<\/h4> <p> <a href=\"#\" class=\"inf-btn\">\u00ab<\/a> <\/p> <\/div> <div class=\"inf-content\"> <div class=\"inf-input inf-input-text\"> <input type=\"text\" name=\"inf[1]\" data-inf-meta = \"1\" data-inf-error = \"Merci de renseigner une adresse email\" required=\"required\" placeholder=\"E-Mail\" > <\/div> <div class=\"inf-submit\"> <input type=\"submit\" name=\"\" value=\"Anmelden\"> <\/div> <\/div> <\/div> <\/form>\n\n\n\n<p>Mit <em>Maigret<\/em>, on constate que Patrice Leconte a conserv\u00e9 toute l\u2019acuit\u00e9 de son regard sur une industrie cin\u00e9matographique peinant \u00e0 se renouveler. Il est alors agr\u00e9able de voir un film, aussi imparfait soit-il, remettre en question cette \u00e9puisante course en avant d\u2019un genre plus vieux que cet art.<\/p>\n\n\n\n<p><em>Schreiben Sie dem Autor:&nbsp;<a href=\"mailto:jordi.gabioud@leregardlibre.com\" target=\"_blank\" rel=\"noreferrer noopener\">jordi.gabioud@leregardlibre.com<\/a><\/em><\/p>\n\n\n\n<p>Cr\u00e9dit photo: \u00a9 Comme Film Pascal Chantier<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1792\" height=\"2560\" src=\"http:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled.jpg\" alt=\"\" class=\"wp-image-46465\" srcset=\"https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled.jpg 1792w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled-1170x1671.jpg 1170w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled-585x836.jpg 585w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled-300x429.jpg 300w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-scaled-600x857.jpg 600w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-105x150.jpg 105w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-210x300.jpg 210w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-768x1097.jpg 768w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-717x1024.jpg 717w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-1075x1536.jpg 1075w, https:\/\/leregardlibre.com\/wp-content\/uploads\/2022\/03\/Affiche_Maigret-1433x2048.jpg 1433w\" sizes=\"(max-width: 1792px) 100vw, 1792px\" \/><\/figure>","protected":false},"excerpt":{"rendered":"<p>Les mercredis du cin\u00e9ma \u2013\u00a0Jordi Gabioud Pardessus noir, chapeau en feutre, la sombre silhouette du commissaire Maigret encadr\u00e9 de son&#8230;<\/p>","protected":false},"author":330,"featured_media":46464,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[644355829],"tags":[61026,535921,644357343,671541,644357344],"class_list":["post-46461","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-films","tag-cinema-francais","tag-gerard-depardieu","tag-maigret","tag-melancolie","tag-patrice-leconte"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.9 (Yoast SEO v26.9) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>\u00abMaigret\u00bb: Depardieu au rythme de la m\u00e9lancolie<\/title>\n<meta name=\"description\" content=\"Maigret, incarn\u00e9 par G\u00e9rard Depardieu, est plus m\u00e9lancolique que jamais dans cette nouvelle adaptation sign\u00e9e Patrice Leconte. 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