a_chinn Directed by Don Siegel who had a foot firmly planted in classic Hollywood and who was also a trailblazer in modernizing American action films, "Madigan" serves the perfect bridge between the two. Co-written by Abraham Polonsky, who'd previously been on the Hollywood Blacklist for refusing to testify before the House Un-American Activities Committee, the film follows two different NYPD police officers. One is Madigan, a tough no-nonsense detective played by Richard Widmark trying to catch a killer, and the other is the straight-arrow police commissioner, Henry Fonda, who's balancing justice, politics, and an extra-marital affair. The film was based on a book titled "The Commissioner" and Fonda's character was the original focus of the story, but the producers instead changed the focus to Widmark's Madigan character, so the film unfortunately ends up a an odd combination of two different stories. Both Fonda and Widmark's stories involve them having to balance their work-life and home-life, but neither of those story elements seemed all that interesting. The most interesting part of the story concerned Widmark and his partner, Harry Guardino, on the trail of criminal Steve Ihnat. Watching Widmark and Guardino push the boundaries of acceptable law enforcement in their investigation makes this film an interesting bridge to director Don Siegel's controversial and highly influential vigilante cop film "Dirty Harry" he'd make a few years later. Siegel also makes great use of NYC locations that give ether film added grit and realism, much like we'd later see in William Friedkin's "The French Connection" and Siegel's use of San Francisco in "Dirty Harry." Siegel also skillfully demonstrates his own directional action sequences chops with a memorable showdown in the film's finale, which features with three characters in tight quarters, all with John Woo-style double-fisted pistols in each hand. Overall, "Madigan" features an old style police detective story (with a nice plot nod to Kurosawa's "Stray Dog") that abandons the stylistic German Expressionist roots of American film noir and instead takes the genre into new more realistic and gritty of territory, even if those stronger elements get somewhat undone by dull and unoriginal subplots involving the marital lives of Madigan and the commissioner.

Robert J. Maxwell This movie should be dedicated to Virginia Gregg. I don't care what anybody says. She's Esther, the secretary who tries to prevent detectives Widmark and his partner Guardino from searching the premises of a certain Mr. Castigliano. She's been in lots of movies and TV programs. I counted them, and they add up to one hundred thousand and forty six. She stands out because her roles are always small, stereotyped, and immediately forgettable -- a beacon for all of us.The sardonic Widmark and the affable Guardino have been surprised by a killer and had their guns taken from them. The killer escapes. They have seventy-two hours to find the miscreant, Ihnat. They wind up chasing leads all over New York city and finally wind up cornering him, not that he's going to give up without the requisite shoot out.Don Siegel knows how to direct thrillers like this. Four years later he'd come up with "Dirty Harry." He's really quite good in this genre. There are moments you wouldn't expect from a humdrum hack. When the two detectives have been thoroughly chewed out and dismissed for their botch, they return glumly to the precinct and Guardino calls his wife, explaining that he may be late. She complains. Widmark calls HIS wife, Inger Stevens, and she carries on about the new dress she bought for tomorrow night's party. When he hangs up, he and Guardino sit silently at their desks, staring at one another. Nothing is made of that shared understanding. It only lasts a few seconds. But it's an expression of at least a modest directorial talent.While the two non-commissioned officers struggle through the next few days, we discover that moral mistakes are being made at the top. Fonda is the Police Commissioner, not a nasty character but by the book. He's just found out that his best and oldest friend, Chief James Whitmore is on the tab. But Fonda himself is obeying a hypothetical imperative. He's schtupping somebody else's wife, Susan Clark, a real stunner, on the sly, while pretending to be so principled. In a way, the corruption-at-the-top business is a little distracting, like the Gloucester/Edgar narrative in "King Lear," and I wish this tale had stuck with Widmark and Guardino.At the same time, Fonda and Whitmore add a layer of irony that adds a bit of ironic texture to what otherwise might be a simple cop story. Widmark sees an old flame too, Sheree North, but he's true to his wife. North unzips her dress with one hand over her shoulder and the other twisted up behind her back. That's a special talent. Men can't do that.I'm not sure what the moral of the story is, or if there is one. The only character who evolves in an important way is Henry Fond'a police commissioner, who finally compromises when he realizes the world isn't a simple Manichaean one of pure good versus pure evil.

AaronCapenBanner 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.

Woodyanders 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.