Bad Cops, Bad Cops
Madigan is my kind of cop movie. Everything about it feels so quintessentially classic. All the tropes are there from the officer who doesn’t play by the book, police corruption, guys in suits who show off their identification, one-liners galore and all this aided by the aura of cool which film-noir icon Richard Widmark brings to the screen – plus is there a more cop name than Madigan?
Many of the men in Madigan wear suits and fedoras with this being the late 60’s and the final days in which it was common for working men to do so; although there is a sense of New Hollywood creeping in with the film’s villain appearing in that 1970’s mould along with various snippets of once-taboo subject matter. Madigan is also one of the best uses of location in film; I haven’t seen another film in which the grit and grime of the New York streets have been captured so vividly in this neo-realistic record of NYC in the late 1960’s.
11 Days Already! Hooray!
The opening credits of Madigan are a fantastic montage of New York in the early hours of the morning. This should come as no surprise as director Don Siegel had been a montage editor before becoming a director. I could happily have this movie playing in the background just to listen to the music as the score by Don Costa itself is one of the most underrated film scores I’ve heard; it’s so motivating and makes you want to go and kick some ass.
Much of my appreciation of Madigan is due to the film’s aesthetics. The film’s main plot and many subplots are good if not entirely exception, primarily the tension between Henry Fonda as the commissioner who “likes the book” and spends his day at superficial social events to promote the image of the force and works from behind a desk versus the unethical Madigan trying the catch crooks on the street. Siegel would go on to do better in Dirty Harry three years later but dam does Madigan have some fine aesthetics.