Madigan (Widescreen)

Director: Don Siegel
Format: Color
Studio: Universal Studios
Video Release Date: January 5, 1999

Cast:

Richard Widmark ... Det. Daniel Madigan
Henry Fonda ... Commissioner Anthony X. Russell
Inger Stevens ... Julia Madigan
Harry Guardino ... Det. Rocco Bonaro
James Whitmore ... Chief Insp. Charles Kane
Susan Clark ... Tricia Bentley
Michael Dunn ... Midget Castiglione
Steve Ihnat ... Barney Benesch
Don Stroud ... Hughie
Sheree North ... Jonesy
Warren Stevens ... Capt. Ben Williams
Raymond St. Jacques ... Dr. Taylor
Bert Freed ... Chief of Detectives Lynch
Harry Bellaver ... Mickey Dunn
Frank Marth ... Lt. James Price
Lloyd Gough ... Earl Griffin
Virginia Gregg ... Esther Newman
Henry Beckman ... Philip Downes
Richard O'Brien ... Det. O'Brien
Woodrow Parfrey ... Marvin
Robert Granere ... Buster
Dallas Mitchell ... Tom Gavin
Lloyd Haynes ... Sam Woodley
Rita Lynn ... Rita Bonaro
Ray Montgomery ... Det. O'Mara
Gloria Calomee ... Policewoman Doris Hawkins
Seth Allen ... Subway dispatcher
Robert Ball ... Prisoner
Kay Turner ... Stella
Albert Henderson ... Lt. Strong
Toian Matchinga ... Rosita
Abel Fernández ... Det. Rodriguez
Paul Sorenson ... Benesh Look-Alike in Saloon
Robert Biheller ... Man
Ollie O'Toole ... Man
Al Dunlap ... Man
Pepe Hern ... Man
Scott Hale ... Ambulance driver
Sean Kennedy ... Man
Bob O'Connell ... Man
Conrad Bain ... Hotel clerk
Ed Crowley ... Man at precinct
Tom Rosqui ... Man
Diane Sayer ... Doreen
Mina Martínez ... Woman
Kathleen O'Malley ... Woman
Elizabeth Fleming ... Woman
Madeline Clive ... Woman
Philippa Bevans ... Mrs. Hewitt
Nina Varela ... Woman
Kate Harrington ... Woman
Al Ruban ... Kowalski
Lincoln Kilpatrick ... Patrolman Grimes
Ralph Smiley ... Captain
John McLiam ... Dunne
James Nolan ... Detective
Hal Taggart ... Dance Extra
William Bramley ... O'Brien
Ralph Brooks ... Dance Extra

Originally planned to be titled "The Commissioner," Fonda thought he had the title role, but it was re-titled Madigan, Widmark's part, which miffed Fonda who had an ego problem. However, he had played five movies with Widmark, whom he liked and respected, so he swallowed his ego. But it always bothered him that he had been relegated to the second string.

This is the story about policemen and their wives, friends, and colleagues. A good friend and coworker once told me that prison work involved weeks, months, and often years of boredom interspersed with moments of sheer terror. He was right. This movie, and most such films, show a succession of the "moments of sheer terror" pretty much to the exclusion of the boredom, because boredom does not make a good story, of course.

Still, the stress and pressure are relatively constant, and that is perhaps why the divorce rate among peace officers is so high. This story graphically depicts how the policemens' marriages suffer from the stress. In that respect, it accurately depicts, I think, one slice of reality. I base my opinion on twenty years spent working in prisons--a differenct occupation, but similar in many ways.

Daniel Madigan and Rosco Bonaro are detectives--partners--who, while making a bust allow the crook to get the drop on them, get their weapons, and get away. They are given 72 hours to catch him. It turns out that he has been upgraded from a suspect to a killer. The Police Commissioner, Anthony Russell (Henry Fonda) is most interested in the case and under pressure himself, maritally as well as professionally.

This film was, accidentally or on purpose, a good portrayal of some of the aspects of a policeman's life, although when the dangers are so telegraphed together for the sake of the story, it does have the effect of making it a caricature of reality, rather than the true depiction of reality it purports to be.

Nevertheless, I recommend the film.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

A subplot involving the embattled police commissioner (Henry Fonda) and his struggle with possible graft on the part of his long-time friend and captain (James Whitmore) works reasonably well.

The commissioner's affair with a married woman (Susan Clark) isn't too much of a distraction, especially since Clark is nice to look at, as usual.

But the subplot that doesn't work is the unhappiness of Madigan's wife (Inger Stevens). Stevens does what she can to bring the woman to life, but the script defeats her, particularly in a scene following a police ball.

Production values are very high, as 1968 New York emerges vividly in the location shooting. Don Costa's score deserves to be released on CD - it's a very memorable and exciting one, especially the main title and the build-up to the climax.