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Madigan (1968)

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In New York City's Spanish Harlem, detectives Madigan and Bonaro are given 72 hours by their superior to capture a hoodlum wanted for homicide in Brooklyn.

Director:

Don Siegel (as Donald Siegel)

Writers:

Howard Rodman (screenplay) (as Henri Simoun), Abraham Polonsky (screenplay) | 1 more credit »
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Cast

Cast overview, first billed only:
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 Hap Lynch
Harry Bellaver ... Mickey Dunn
Frank Marth ... Lt. James Price
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Storyline

Policemen Bonaro and Madigan lose their guns to fugitive Barney Benesch. As compensation, the two NYC detectives are given a weekend to bring Benesch to justice. While Bonaro and Madigan follow up on various leads, Police Commissioner Russell goes about his duties, including attending functions, meeting with aggrieved relatives, and counseling the spouses of fallen officers. Written by Ken Miller <wkmiller704@yahoo.com>

Plot Summary | Plot Synopsis

Taglines:

"If Detective Madigan kept his eyes on the killer instead of the broad..." See more »

Genres:

Crime | Drama | Thriller

Certificate:

TV-14 | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

5 April 1968 (Japan) See more »

Also Known As:

Nur noch 72 Stunden See more »

Company Credits

Production Co:

Universal Pictures See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Westrex Recording System)

Color:

Color (Technicolor)

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The portrait hanging in Commissioner Russell's office is of Theodore Roosevelt, who at one time was New York City Police Commissioner. See more »

Goofs

When Madigan is interrogating Hughy in the theatre Don Stroud's long strangely hair combed across his forehead changes with the different angle shots, the wispy dangler comes and goes and then his bangs are suddenly well combed at the end of the scene. See more »

Quotes

Det. Daniel Madigan: I'm in love with Julia.
Jonesy: Who's asking for love?
See more »

Connections

Referenced in Last Action Hero (1993) See more »

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User Reviews

 
Between The Killers and Dirty Harry, Don Siegel presents Madigan.
10 August 2012 | by SpikeopathSee all my reviews

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


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