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example, called for a highly emotional and poignant scene that comes at the end of the film, in which actress Inger
Stevens berates Henry Fonda for the death of her husband. To make things more difficult for Stevens' concentration, she was also scheduled to shoot wardrobe tests throughout the day. Stevens approached Siegel almost in tears. The director apologized, suggesting, "When you're playing this painful scene with Mr. Fonda, think of the loathing you feel for Frank Rosenberg, who is responsible for this ridiculous schedule." In the end, Siegel wrote, "Miss Stevens gave a startling portrayal, truly magnificent and brave."
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579:, and the prop man had been mugged. Rosenberg picked a location in L.A. that Siegel found to be unimaginative and virtually unusable. Siegel himself then discovered a location that was perfect and looked very much like New York, but Rosenberg still insisted that his choice be used. Siegel went over Rosenberg's head to Lew Wasserman, the head of Universal. He made his case, showed photos of both locations, and Wasserman agreed that Siegel's choice was best.
586:"Don's tough," said Richard Widmark. "He could have slid over the ending we wanted. He could have said, 'Let's shoot it and get it over with.' It was the end of the picture and we were all tired. But no sir. He fought like a bastard. A director can't operate on the idea that everyone has to like him. If he does, somewhere along the line reality is going to hit." Widmark called Siegel one of the three best directors he ever worked with, along with
356:. She's excited and happy until she realizes he's going to ditch her early on and go back to work. Knowing Julia was looking forward to dancing, he leaves her in the hands of Captain Ben Williams, who uses the opportunity to get her drunk and seduce her—he nearly succeeds, but she can't go through with it.
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Serious clashes between Siegel and producer Frank
Rosenberg marred the production. Rosenberg was a studio veteran who considered himself the boss of the project; as far as Siegel was concerned, once the cameras rolled, Siegel was boss. The very first day of the shooting schedule set by Rosenberg, for
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Henry Fonda echoed these accounts of
Rosenberg. Attracted to the project because his part as the police commissioner was so three-dimensional, he found that Rosenberg toned down much of the character's depth in the screenplay. "He just wouldn't listen to anything," Fonda said. "He fancied himself a
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Biographer Judith M. Kass regards the characterization of Daniel
Madigan as “one of the most autobiographical of Seigel’s putative heroes…Madigan embodies the barely suppressed violence and actual sensitivity of a man destined to pick the wrong woman fight the wrong fight against an enemy who has
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When it is discovered that
Benesch was wanted for homicide, Madigan and Bonaro are reprimanded by Police Commissioner Anthony X. Russell. Aside from this new problem, Russell is troubled by other matters: his married mistress, Tricia Bentley, has decided to end their relationship; a black minister,
367:. Tracing the fugitive to a Spanish Harlem apartment, Madigan and Bonaro bring in a police cordon and order the killer to surrender. When he refuses, the two detectives rush the building and break down the door. In the exchange of gunfire, Madigan is fatally wounded before Bonaro can kill Benesch.
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Rosenberg also reportedly interfered in tiny, annoying ways, as in the shooting of Henry Fonda's first scene. The actor walked into a room where Susan Clark was lying on a bed and said, "You can open the other eye now, I made coffee." Siegel said, "Print it," but
Rosenberg, who had been watching,
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Irritated by the fact that
Madigan and Bonaro broke the rules by working for another precinct, Russell gives the two men 72 hours to arrest Benesch. Despite the deadline, Madigan tries to spend some time with his wife, Julia, who is socially and sexually frustrated as a result of her husband's
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Kass notes that the “wrong fight” is an analogy for “the continuous war between Seigel and his producers” for which the director felt he was unduly punished. “Seigel seems to feel the oddness of his position as a rebel director in a large corporation and relates it, on screen, to those of his
325:, police detectives Dan Madigan and Rocco Bonaro break into a sleazy apartment and arrest Barney Benesch, a hoodlum wanted for questioning by a Brooklyn precinct. Momentarily distracted by the suspect's nude girlfriend, the two detectives are outwitted by Benesch, who escapes with their guns.
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The most significant clash came over the location for the action-packed ending. Most of the picture had been shot on location in New York, but for the finale the company moved to Los
Angeles. New York was getting to be too dangerous: Widmark and Guardino's car had been attacked by a gang in
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Russell tries to comfort Julia, but she accuses him of being a heartless administrator. As the commissioner leaves with Chief
Inspector Kane, he is asked about Dr. Taylor's situation and other pressing matters at hand. Russell tells him that these are things they can address tomorrow.
36:
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The commissioner confronts Kane with the bribe evidence. The inspector was trying to help his son out of a jam. He offers to turn in his badge but resents
Russell's outrage at how he could have done such a thing, asking the commissioner what he would know about being a father.
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writer and rewrote scenes which we'd try to change on the set, but eventually he'd make us dub it the way he had written it, putting single words back in. The rest of us on the set got along beautifully. It was still a good picture because of what Don did with it."
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were among the best of any film Siegel had directed. Critics praised its urban grittiness and straightforward style, and audiences responded to its excitement and tautness. Siegel would go on to direct other successful cop movies, including
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demanded that it be reshot because Fonda didn't say "the" coffee. "It changes the whole meaning," Rosenberg insisted. When an angry Siegel refused to reshoot it, Rosenberg later had Fonda record the "the" and looped it into the final cut.
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Kass, 1975 p. 136: ““Although Widmark is married, has a cohort and friends, he is portrayed as being essentially alone, working out his destiny and problems in isolation, struggling with internal furies as well as external physical
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dangerous and time-consuming job, though unknown to her he has a girl on the side, Jonesy, a nightclub singer. (Though she's sexually frustrated as well, and Madigan tells her he only loves Julia.)
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by racist policemen; and proof has been established that Russell's longtime friend and associate, Chief Inspector Kane, has accepted a
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In 1972, Widmark reprised the title role (literally bringing the character back from the dead) for the NBC television series
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who had served in the 1950s as a deputy New York City police commissioner for community relations.
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Fictional portrayals of the New York City Police Department
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Film Noir: An Encyclopedic Reference to the American Style
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in the 1950s, Howard Rodman (credited here under the
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This article is about the film. For other uses, see
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272:. It was based on the 1962 novel
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609:. The series ran as part of the
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297:(1962), as well as the original
241:(as Donald Siegel) and starring
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509:Seth Allen as Subway Dispatcher
213:$ 1,100,000 (US/Canada rentals)
1204:Films based on American novels
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625:List of American films of 1968
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553:even fewer scruples than he…”
300:Invasion of the Body Snatchers
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1209:Films directed by Don Siegel
777:AFI Catalog of Feature Films
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407:as Chief Insp. Charles Kane
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169:March 29, 1968
21:Madigan (disambiguation)
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383:as Det. Daniel Madigan
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937:Riot in Cell Block 11
485:as Ptl. Philip Downes
419:as Midget Castiglione
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1145:Escape from Alcatraz
969:Crime in the Streets
512:Kay Turner as Stella
401:as Det. Rocco Bonaro
76:by Richard Dougherty
1057:Stranger on the Run
913:No Time for Flowers
561:Collaborative clash
447:Raymond St. Jacques
321:In New York City's
224:is a 1968 American
1121:The Black Windmill
1033:Hell Is for Heroes
851:Films directed by
789:TCM Movie Database
689:, January 2, 1987.
664:The Overlook Press
467:as Lt. James Price
294:Hell Is for Heroes
268:Henri Simoun) and
155:Universal Pictures
145:Universal Pictures
85:Frank P. Rosenberg
50:(as Donald Siegel)
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1105:Dirty Harry
1041:The Killers
881:The Verdict
541:Dirty Harry
538:(1968) and
516:Conrad Bain
471:Lloyd Gough
465:Frank Marth
423:Steve Ihnat
411:Susan Clark
387:Henry Fonda
339:prostitutes
310:Dirty Harry
291:(1958) and
262:blacklisted
247:Henry Fonda
189:101 minutes
99:Henry Fonda
81:Produced by
43:Directed by
1184:1968 films
1178:Categories
993:The Lineup
853:Don Siegel
811:Letterboxd
592:Elia Kazan
453:Bert Freed
429:Don Stroud
288:The Lineup
239:Don Siegel
210:Box office
173:1968-03-29
138:Production
74:1962 novel
47:Don Siegel
1153:Rough Cut
631:Footnotes
588:John Ford
491:as Marvin
437:as Jonesy
431:as Hughie
331:brutality
266:pseudonym
131:Don Costa
119:Edited by
800:AllMovie
708:traits.”
619:See also
544:(1971).
226:neo-noir
202:Language
127:Music by
91:Starring
67:Based on
1161:Jinxed!
1137:Telefon
1065:Madigan
806:Madigan
795:Madigan
787:at the
784:Madigan
774:at the
771:Madigan
760:Madigan
727:Sources
644:Variety
606:Madigan
529:Madigan
221:Madigan
205:English
194:Country
171: (
140:company
29:Madigan
1164:(1982)
1156:(1980)
1148:(1979)
1140:(1977)
1132:(1976)
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956:(1955)
948:(1954)
940:(1954)
932:(1953)
924:(1953)
916:(1952)
908:(1952)
900:(1949)
892:(1949)
884:(1946)
876:(1945)
868:(1945)
741:
670:
577:Harlem
548:Themes
361:bookie
365:pimps
335:bribe
232:drama
229:crime
765:IMDb
739:ISBN
668:ISBN
590:and
375:Cast
317:Plot
249:and
809:at
798:at
763:at
1180::
666:.
341:.
313:.
253:.
245:,
844:e
837:t
830:v
747:.
175:)
23:.
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