An Exercise In Nonsense

Absolutely amazing

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

There is just so much movie here. For some it may be too much. But in the same secretly sarcastic way most telemarketers say the phrase, the title of this one is particularly apt.

I believe this is a great film, one of Don Siegle's best. Some reviewers did not appreciate the two plots. They thought the Henry Fonda story line was soapy. Actually the contrast between the two plots was the central theme of the movie. The first shot is of the old New York Central train (now Metro North) emerging from the underground to the elevated tracks. It sets the tone. You're still on Park Avenue but you're leaving the wealthy Upper East Side and entering East Harlem which in those days was a tough Italian American neighborhood (my old neighborhood) now known as Spanish Harlem. Fonda, once a street cop is now Police Commissioner his world is among the elites of the City. Widmark and Harry Guardino are two hard nosed detectives who were embarrassed by a psycho who took their guns and then killed another officer. Now they have to track him down. The difference between the two worlds and the different types of decisions that have to be made is what the film is about. The cast is excellent Fonda, scrupulously by the book, Widmark who throws the book away to do what's required of him James Whitmore. the more human Chief of Department, Guardino and the luminous Inger Stevens, the brilliantly filmed final gunfight all make for an unforgettable film.

Maverick veteran detective Daniel Madigan (a superb and credible performance by Richard Widmark) and his equally seasoned partner Rocco Bonaro (well played by Harry Guardino) have to catch maniacal psycho Barney Benesch (a memorably edgy turn by Steve Ihnat) with 72 hours. Meanwhile, stern by-the-book police commissioner Anthony Russell (Henry Fonda in typically top-drawer form) has personal and professional problems of his own. Director Don Siegel, working from a gripping and thoughtful screenplay by Howard Rodman and Abraham Polonsky, relates the compelling story at a steady pace, makes inspired use of authentically gritty New York City locations, grounds the plot in a thoroughly believable harsh urban reality, maintains a serious no-nonsense tone throughout, and stages the rousing climax with tremendous skill and aplomb. Moreover, this picture acquires additional depth, substance, and even poignancy by showing the troubled private lives of the main characters in a convincing and straightforward manner. The uniformly stellar acting by the first-rate cast qualifies as another major asset, with especially commendable work by Inger Stevens as Madigan's fed-up neglected wife Julia, James Whitmore as the amiable, on the take Chief Inspector Charles Kane, Susan Clark as Russell's classy mistress Tricia Bentley, Michael Dunn as antsy bookie Midget Castoglione, Don Stroud as excitable low-life informant Hughie, and Sheree North as sultry nightclub singer Jonesy. Russell Metty's no-frills cinematography further enhances the overall stark realism. Don Costa's spirited score hits the stirring spot. A worthwhile action thriller.

Madigan is directed by Don Siegel and adapted to screenplay by Abraham Polonsky and Howard Rodman from the novel The Commissioner written by Richard Dougherty. It stars Richard Widmark, Henry Fonda, Inger Stevens, Susan Clark, Harry Guardino and James Whitmore. Music is scored by Don Costa and cinematography by Russell Metty.Plot finds Widmark as Detective Daniel Madigan, who along with his partner Rocco Bonaro (Guardino), loses a suspected murderer who also makes off with their guns. Causing embarrassment to Police Commissioner Anthony Russell (Fonda), who is hardly a fan of Madigan's methods, they are given 72 hours in which to locate the escapee and bring him in. But as the two men go in search of the crim, Commissioner Russell has various other problems to address, both at work and with matters of the heart. Last thing he needs is a volatile Madigan screwing things up...Based on a book called The Commissioner, a film originally titled the same, and the most interesting story thread in the picture is that of Henry Fonda's Commissioner! Then why is the film called Madigan, who is an interesting character that really is only second fiddle in this particular Don Siegel orchestra? It is one of the odd and frustrating things about the piece, the story is complex enough without being unsure who to focus on, a shame because Widmark, Clark, Fonda and Whitmore are doing sterling work for their under pressure director (Siegel was constantly fighting with producer Frank P. Rosenberg).The themes at play are deliciously enticing, infidelity, police corruption, family strife, friendship, loneliness and identity etc etc, threads are dangled and given thoughtful dialogue passages. But hang on! Wasn't there a murderer on the loose at the beginning of the film? Half way through the piece I had forgotten about Steve Ihnat's crim that opened up proceedings, surely that can't be right? Film looks terrific at day time, though, where Metty's bold Technicolor photography really gives the New York locations a sense of 70s wonder (I know it's a 60s movie but it feels very 70s, and in a good way as well), though Costa's score is far too blunderbuss for narrative themes.It's a mixed bag, a film you just know should be better considering the talent in front of and behind the cameras. Ideas at core are strong and worthy of filmic adaptation, while the last quarter is electrifying and crowned by a classic foray into film noir territory. But really this is recommended as just above average entertainment for the cop/crime movie fan. 6/10

My first experience with the character of Dan Madigan was in the television series that the movie spawned. I enjoyed Richard Widmark--he had a petty, wounded look that made his character(s) appealing . . . and infuriating. In Madigan (the movie), Widmark wasn't a typical 60's anti-hero, just a burnt out cop with a miserable life. The movie was tough, and infuriating. It seemed to have a formula, an agenda for making big moral judgments. Henry Fonda was doing his thing, gliding around the set with a great toupee and a look on his face of lethal dyspepsia, Inger Stevens was scrumptious, Harry Guardino was very honest and blue-collar, Steve Inhat (sp?) was criminally underused, and Widmark was just wonderfully foolish as an empty man who's going to lose his wife and his life if he doesn't walk away from his precious job. My appreciation for director Don Siegel can be seen in my review of The Killers. His pacing is so journeyman, so reassuring, that you never have to be bothered with thinking, "Wow, who directed this?" I can't say that this is a great cop movie because the production values are so cheesy and the big moral-isms are overbearing.I can say that the movie should have been a training film for cops who sacrifice everything for their jobs. This was the strongest part of the movie, a message of, "Walk away while you can!"