The clockmaker of st. paul4/16/2023 And it does that very simply, by revealing characters to us. But "The Clockmaker" is much too good to do that it transcends the crime genre and becomes a totally original work. We think now that perhaps the movie will be about an investigation that it will involve elements of a thriller. The clockmaker sits in his son's room and runs through his thoughts again and again. The inspector listens with sympathy, asks Noiret to report any news of the son and leaves. Noiret thinks that perhaps he did not pay close enough attention to his son - didn't display the affection that he felt for him. He and the inspector talk about what it is in young people that makes them do these things. There's not the slightest doubt, unfortunately: It was the son, and it was murder. One day a police inspector visits the clockmaker's shop to inform him that his son has committed a murder. ("My wife and I separated, and then she died - what does that make me?") He lives with a son who comes and goes according to his own schedule. Noiret plays a clockmaker who lives and works in a quiet quarter of Lyons. You may not recognize the name, but you will recognize the face from a dozen movies: sad-eyed, thoughtful, resigned to middle age. And it presents him so eloquently that it becomes one of the year's best films. What's unusual about "The Clockmaker," though, is its angle of attention: It's not about the killer, but about the killer's father. It has that in common with a lot of books by Simenon and other crime writers who understand that people, not crimes, are their real subject (I'm thinking also of Nicholas Freeling and P. "The Clockmaker," which is based on a novel by Georges Simenon, begins with the report of a murder and ends as the portrait of a personality.
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