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Maigret und sein grösster Fall
Enter Inspector Maigret
Il Caso Difficile del Commissario Maigret / Maigret Fait Mouche
Austria / Italy / Spain / West Germany 1966
produced by Karl Spiehs, Heinz Pollak (executive) for Intercontinental Filmproduktion, Terra Film, Carmina Films, Constantin Film
directed by Alfred Weidenmann
starring Heinz Rühmann, Françoise Prévost, Günther Stoll, Günter Strack, Gerd Vespermann, Christo Neggas, Ulli Lommel, Edwin Noel, Günther Ungeheuer, Eddi Arent, Giacomo Furia, Claudio Camaso, Alexander Kerst, Francesca Rosano, Peter Gross, Silvana Sansoni, Peter Gerhard, Rudolf Barry, Gerhard Koska, Hans Habietinek, Walter Varndal
screenplay by Herbert Reinecker, based on the novel La Danseuse du Gai-Moulin by Georges Simenon, music by Erwin Halletz
Maigret
review by Mike Haberfelner
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A priceless Van Gogh is stolen from a museum in Paris - and Inspector
Maigret (Heinz Rühmann) insists on hushing the whole affair up and
exhibiting a fake in the museum to lure the thief out into the open. The
next day, a Mr. Holloway (Günther Ungeheuer), a rich art collector, turns
up in Maigret's office to let him know about the fake Van Gogh and tell
him he's been offered the real one to buy. Maigret promises Holloway
police protection, but Holloway slips his protectors and takes off to
Lausanne, Switzerland. Maigret, his assistant Caselle (Gerd Vespermann),
and insurance agent Labas (Eddi Arent) manage to pick up his trail though
and follow him, all the way to a night club, where he's quick to become
the favourite customer of hostess Simone (Francoise Prévost) and leaves a
considerable lump of money with the club band's drummer Robin (Günther
Stoll). After closing time, youngsters René (Ulli Lommel) and Jean (Edwin
Nobel) sneak back into the club to ampty the register - but stumble upon
the corpse of Holloway and make a hasty escape. The next morning, Maigret
and company find Holloway's corpse - in his hotel room. Maigret thinks
it's a good idea to hush things up and has the body put into a laundry box
to be left in a public park for others to find - just to lure the killer
out into the open. In the meantime, Maigret investigates the owner of the
night club, Genaro (Giacomo Furia), and soon finds out his brother Adriano
(Christo Neggas) has actually stolen the Van Gogh, which Genaro has hidden
in the night club, not so much with criminal intent but to help his
brother, and he's more than happy to hand the painting over to Maigret.
Also he finds out that drummer Robin has told Holloway about the painting
and has volunteered hleping him get his hands on it. Somehow Maigret also
finds out about youngsters René and Jean, and how René is actually the
son of rich industrialist Delfosse (Alexander Kerst) and the lover of
Simone - and ultimately, Maigret figures that when René and Jean found
Holloway's body, Holloway only pretended to be dead, but René figured
with Holloway dead he might as well raid his hotel room - but was then
caught by Holloway and killed him out of reflex ... With the
krimi genre being all the rage in Germany in the 1960s, thanks in large
parts to the German
Edgar Wallace adaptations, it was pretty much only a matter of
time before Georges Simenon's Maigret would get its German
(or more accurately Austrian) adaptation, even scripted by regular Edgar
Wallace-writer Herbert Reinecker and co-starring another Edgar
Wallace-regular, Eddi Arent. For the lead, the producers tried
to get Rupert Davies, who had already played the role in the BBC
series Maigret from 1960 to 1963, but who ultimately turned
down the role, leaving it to popular German actor Heinz Rühmann, who had
already left his mark on the krimi genre with a pair of Father
Brown movies. Now taken by its own merits, this
hardly is a classic whodunnit, but within the krimi genre as it was in the
1960s, not at all a bad movie, as while the plot might seem somewhat
forced and convoluted at times, it takes a less stylized and artificial
approach than many films of its ilk, but doesn't force the realism-angle
either, going for a more natural style instead, and Heinz Rühmann works
very well as the film's calm centerpiece. What really doesn't work too
well here is Herbert Reinecker sometimes terribly stilted dialogue and his
repeated falling back on cardboard characters for supporting roles. Sure,
even this has its certain charm, but the film sure would have profited
from a little more believability.
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