I'll tell you why so serious

Good films always raise compelling questions, whether the format is fiction or documentary fact.

The best films of this genre always show a path and provide a takeaway for being a better person.

The acting in this movie is really good.

Considering all the talent involved why is the film as disappointing as it is. Start with a script that can't decide whether it's third-rate soap opera or second-rate police drama, with enough trite sub-plots and dialogue to border on self-parody. Fleshing out the private lives behind the badges may be a workable idea, but here the many subplots detract rather than add to the overall effect. Then there are the performances. Widmark's aging Madigan appears not so much a burned-out case as an expressionless cypher, whose presence leaves the audience with nothing much to root for, and a long way from Widmark's usual intensity. Then too, whose idea was it to have the street tough Madigan go through an embarrassingly bad comedy scene with Henry Fonda that should have stayed on the cutting room floor. There's also Fonda's turn as police commissioner, a role that must have required him to swallow an ice cube first and a lemon second, because throughout, he appears too frozen to unbend and too sour to smile, a combination that results in a grimly overdone portrait of moral rectitude. (Just the thought of his character coupling with Susan Clarke is about as plausible as pairing Cher with Jerry Fallwell.) In fact, the entire cast apart from the poignant Inger Stevens, appears to be doing their scenes by the numbers, which is technically the fault of director Don Siegel. Except Siegel is a Hollywood master, who ordinarily directs with style and verve, and specializes in police-action dramas; yet here, with the exception of the shoot-out, there's none of the usual snap or polish. My guess is he took one look at the script and went for the payday, as did everyone else. I suspect too -- as another reviewer points out -- that the film's basic problem lies with the studio, Universal, which only recently had specialized in Doris Day comedy fluff. Here however it's 1966-67 -- city ghettos are on fire, change is in the air, and Hollywood is trying to play catch up. Though praised at the time, Madigan is now little more than proof of how painful the process was.

Richard Widmark(Madigan) & Harry Guardino play two police officers who lose their gun to a murder suspect(Steve Inhat). They are then given a short period of time to catch him, and retrieve his gun, before it is used in the commission of a crime. Madigan must also deal with his home problems involving his bored and neglected wife(played by the beautiful Inger Stevens) Henry Fonda plays the police commissioner who must deal with the hard-headed Madigan, and other issues that threaten the safety and reputation of the city.Moderately interesting yarn has good performances and direction, though a somewhat tedious and familiar story, though the ending is a surprise. Later inspired a brief TV series.

"Madigan", the Universal film of 1968 surfaced recently on a classic cable channel. Directed by legendary Don Siegel, and based on a novel by Richard Dougherty, with and adaptation by Abraham Polansky and Howard Rodman, proves to be a trip back to that era of the New York of the 1960s where crime took center stage for the police. There are two main stories in the narrative, one involving a team of detectives and the other about the police commissioner who finds himself in a dilemma as he finds out his best friend in the force has been involved in a shady deal.The detectives Madigan and Bonaro come to pick up Barney Benesch, a criminal, who is being sought in Brooklyn as a witness for a crime. The two irrupt in the apartment where Benesch is in bed with a young woman. He outmaneuvers the detectives, fleeing with their weapons, an embarrassing position for the lawmen who become the target of all jokes in the department.Anthony Russell, the commissioner, is told as he arrives in his office about the investigation that points out one of his colleagues, chief inspector Charles Kane has engaged in a shady deal which appears to be a criminal act, something a person in his position is immediate grounds for termination. Russell and Kane go way back in the police department. Russell, a decent man must get to the bottom of the situation to determine whether the chief inspector has to go.Don Siegel shot the film using locations in New York. The screenplay adaptation was written by Abraham Polonsky, a veteran of Hollywood, who was a good director himself and Howard Rodman. The emphasis of the action revolves around Madigan and his partner Bonaro, but another, probably more interesting film would have been made from the conflict between the two friends in higher places. Russell is no saint, he was having an affair with a socialite, but basically is a decent man. Kane, on the other hand, was just a good police officer whose whole family had been involved in the force in several positions.Richard Widmark does a wonderful job as Madigan, a man who has problems of his own, with an unsatisfied wife who is more interested in having fun, which her husband was not able to provide. Henry Fonda plays the upright commissioner with his usual easy way for giving a good performance without even trying. James Whitmore is Kane the man who makes a mistake and lives to regret it, thinking he has jeopardized his friendship with Russell. Inger Stevens' Julia is a tad exaggerated, not feeling real. There are interesting supporting roles. The film had locations in New York City and Brooklyn, but it is obvious studio sets stand for real Manhattan streets. The final sequence was filmed in Los Angeles. Russell Metty, the cinematographer shows the New York of the late 1960s with flair. The music score is by Don Costa.

A fine, harshly realistic Don Siegel film from the late 60's with Richard Widmark superb as Madigan. Steve Ihnat (from THE CHASE) is also a perfect twisted and aggressive villain with able support from Harry Guardino. The lovely Inger Stevens is touching in one of her last roles before her untimely demise.A 7 out of 10. Best performance = Steve Ihnat (who died too young). Don Siegel made a lot of good films and this is near the top of the list. One of the pro-cop films before Dirty Harry blasted it open. Once again, Inger Stevens will break your heart near the end of this and she never looked more beautiful in her all too short career. Well worth anyone's time.