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Nosferatu. Revista De Cine (Donostia Kultura) Nosferatu. Revista de cine (Donostia Kultura) Título: Brigada homicida (Madigan; Don Siegel, 1968) Autor/es: Monterde, José Enrique Citar como: Monterde, JE. (2006). Brigada homicida (Madigan; Don Siegel, 1968). Nosferatu. Revista de cine. (53):180-181. Documento descargado de: http://hdl.handle.net/10251/41499 Copyright: Reserva de todos los derechos (NO CC) La digitalización de este artículo se enmarca dentro del proyecto "Estudio y análisis para el desarrollo de una red de conocimiento sobre estudios fílmicos a través de plataformas web 2.0", financiado por el Plan Nacional de I+D+i del Ministerio de Economía y Competitividad del Gobierno de España (código HAR2010-18648), con el apoyo de Biblioteca y Documentación Científica y del Área de Sistemas de Información y Comunicaciones (ASIC) del Vicerrectorado de las Tecnologías de la Información y de las Comunicaciones de la Universitat Politècnica de València. Entidades colaboradoras: 180 Brigada homicida (Madigan; Don Siegel, 1968) José Enrique Monterde ejando de lado el estúpido título espat'iol, por la "Caza de brujas" Abraham Polonsky, en tiem­ Brigada homicida (Madigan, 1968) re­ pos director de la esplénd ida Fo rce of E vil ( 1948) y sulta ser un film desconcertante tanto guionista de Cuerpo y alma (Bocú' and Soul; Robert por sus contenidos como por los alti ba­ Rossen, 1947). jos que lo recorren y le al ejan de ser un fi lm redon­ do, aunque sí intercsnnte. De entrnda sup ongo que Sin embargo, la trama argumental se bifurca periód i­ se produce un desccntramiento argum ental, en la camente, puesto que si bien su núcleo estructural medida en que mientras la película gira fu ndamental­ viene dado por la persecución a lo largo de tres días mente en torno al personaje de Dan Madigan (Ri­ de Barney Benesch, un psicópata criminal huido de chard Widmark), el libro que la inspirn - The Com­ los dos poli cías protagonistas - Mad igan y Rocco missioner, de Richard Dougherty- parece hacerlo Bonaro (Harry Guardino)-, gracias a su descuido, en respecto a la fi gura del má ximo responsa ble poi icial la espléndida primera secuencia del fi lm - casi com­ de la ciudad de Nueva York, Anthony X. Ru ssell pnrab lc con el arranque de Código del hampa (The (Henry Fonda). Va le la pena resaltar que uno de los Killers, 1964)- , también se integran en el relato las responsables del guión es el prestigioso obli terado respecti vas relaciones sentimentales de Madi gan y Russell o las compl icaciones entre este último y el des igual puesta en escena, curiosamente d iríamos inspector jefe Charles Kane (sic), víctima de la co­ que aparece contaminada por el formato telefílmi­ rrupción de su hijo también policía. Esas diversas co, ligada a un feo funciona lismo, carente de cuida­ líneas de desarroll o no siempre congeni an ni se equi­ do en un montaje sin personalidad y capaz de pasar libran adecuadamente; tampoco son capaces de su­ de una espléndida secuencia de partida a una bas­ perar viejos tópicos, como el de la esposa insati sfe­ tante penosa penúltima secuencia, la de la caza del cha de detective entregado a su trabajo y siempre criminal perseguido. N i la sorpresa -y ahí radicaría ausente o el de la vieja amistad cómplice entre dos tal vez una de las mayores novedades del film- de veteranos poli cías rota por el mal paso de uno de la muerte fi nal de Madigan, del héroe y principal ellos. Y sin embargo no dejan de presentar un par de protagoni sta de la película, con el subsiguiente des­ apuntes de interés, sobre todo en el tratamiento de plante de su viuda al comisionado Russell, es capaz las relaciones sentimentales: la esposa de Madigan a de hacernos olvidar la atropellada escena del e n­ punto de rendirse a la seducción del policía al que frentamiento final. Madigan la ha endosado en una fi esta nocturna; y la adúltera relación del inflexible comisionado Russell, Realmente, la violencia en Brigada homicida apare­ ún ica y recóndita flaqueza de un símbolo absoluto de ce bajo la forma de intensos destellos: la secuencia probidad y respeto a la ley. de apertura y la final, anterior al epílogo, ya mencio­ nadas; el fulminante asesin ato de dos policías p or E l mayor défi cit de Brigada homicida, lo que la parte de Benesch en plena call e; y la irascible reac­ distancia de los mej ores thrillers de Siegel, desde ción de Madigan - hombre brusco y colérico, hetero­ T he Big S te al ( 1949) a La gra n estafa ( C/wrley doxo en su vigi lancia de la ley- ante el error en la Varrick, 1973), pasando por Riot in C ell Block 11 id entificación del asesino en un bar, tras un erróneo (1954), Crime in the S treets ( 1956), T he L in eup chivatazo de un antiguo conocido. Parece que a Sie­ (1958) y llegando a la citada Código del ha mpa y, gel (o a sus guionistas, tal vez) le haya interesado por qué no, Harry, el sucio (Dirty Harry, 197 1), más la dimensión psicológica de los personaj es y el radicaría en ciertos aspectos ele su puesta en escena entretej ido de sus relaciones que no la acción violen­ y, muy especialmente, la horrenda música ele Don ta. Y no estoy muy seguro de que sea en el terreno Costa, cuyo valor como síntoma de la época no la de lo psicológico donde el autor de Ha n ·y, el sucio redime de su insoportable presencia. En cuanto a la se desenvuelva mejor. 181 .
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