Dragnet

"Dragnet" is the best police show ever. "Dragnet" was directly responsible for the maturation and realness of police television shows, but it didn't dive into soggy drama stories surrounding the police officers the way soap opera police shows like "Hill Street Blues" did. "Dragnet" instead focused on the actual police stories and the apprehension of the crooks. On radio, the death of actor Barton Yarborough (no relation to me) who played Friday's first partner, Sgt. Ben Romero, was brought into the story, and in a 1953 TV episode Friday shows regret after killing a man for the first time, but that was as far as the drama went. For the most part, "Dragnet" was engaging nuts-and-bolts police work that was directed plausibly by Webb (who was a film-noir veteran by 1950, having appeared in 1948's "He Walked By Night," on which the show was based, and other film-noir classics like "Sunset Boulevard" and "The Men," both filmed in 1949). Many episodes of "Dragnet" have a film noir-like quality to them, often making for nail-bitting, high quality television.

In correction of Mr. Richmond's comment, in the fall of 1952 Herb Ellis took over as Friday's partner after the departure of Barney Phillips. Ellis was the first Frank Smith, and he served as a temporary replacement until someone who matched Yarborough's wholesome humor could be found. And Ben Alexander was chosen. But Alexander's humor was more outwardly silly, whereas Yarborough brought out more unexpected humor. In the first episode, for instance, when Friday and Romero are told about a man carrying a bomb, Romero voluntarily decides to help Friday stop the man because, as he says "Can't go home. My wife wants me to paint the bathroom today." As stiff as Friday's partners often were, they all had their own unique traits: Romero was the unintentionally silly Southerner; Jacobs was the stone cold, ice-eyed quiet one; Herb Ellis's Frank Smith was quiet but easy going; Ben Alexander's Frank Smith was simply goofy.

Jack Webb voluntarily pulled "Dragnet" off the air in 1959, but it returned to the air in new episodes in 1967, going for three and a half years (again in correction of Mr. Richmond's comment). These color episodes were rather different than the original black-and-white ones, but were still of very high quality.

I'm most familiar with the Harry Morgan period but all versions I've seen of the TV and radio originals are really good. Post-sixties angst is absent from the stories and characterizations, as in Perry Mason and perhaps a few others. Actually, "Ozzie and Harriet" from a different angle gives the same picture of a time with a bit less self-doubt.

I've been watching some older episodes recently, courtesy of a couple of bargain four-episodes DVD I got in a Brighton 99p shop, and my attitude towards the series has changed somewhat from when I first saw Dragnet some decades ago. I now realise that the very tight, plodding format with the story told mostly through voice-over - much satirised, most memorably in Police Squad! and in a classic parody in an early Mad magazine - can somewhat blind the viewer to some of the show's more subtle strengths. The show does seem to make an effort to show the often tedious and legwork-heavy aspects of police work, and avoids violence and gratuitous gunplay as much as possible. But there's often a very sympathetic tone in Dragnet episodes towards the culprit, understanding that crime is often tragedy - such as in an episode called Big Porn, where in the final minutes a pornographer is revealed as a sad, tired old man, reliving his old days as a movie director. I particularly like an episode called Big Shoplift where the criminal turns out to be a lonely woman suffering from kleptomania, for whom even Joe Friday recognises that jail is not the right place. This compassion was a step forward from the efficient but rather cold film that inspired Dragnet, He Walked by Night, in which Webb had a bit part.

When I first saw Dragnet, I think in particular I underestimated the performance of Jack Webb, who seems to approach his suspects with a very human demeanour which is entirely realistic and such an antidote to the overplayed performances of many later TV cops. Webb produced and often wrote and directed the shows, and he displays a sure, experienced touch. Incidentally, the series didn't always take itself that seriously: look out for a wildly campy episode which alters the opening titles to read "Badge 417".

During my childhood the staccato musical "sting" could be heard anytime and any place that there was a parody of a detective programme or even between kids if there was a minor mystery, someone would hum the theme.

Actually watching it for the first time many decades later in very bleary prints shown on the most obscure satellite channel to fill the gaps between adverts early in the morning, its brilliance still shines through. "Everything you see is true". But how true and how was it actually made? There doesn't seem to be any authoritative account of how the scripts were written so I can only guess. Two things however strike me: firstly there is a precision and sometimes quirky individuality about the portrayal of the suspect, small but striking details of their manner and behaviour. Secondly, the calm reasonable and utterly professional cops who at all times remain dedicated, fully human and humane, sympathetic yet not presented as superheroes.

My feeling at least is that the source of the materials was not just the files but the actual cops involved who related things they'd remembered but which would not have seemed significant enough for them to include in a written report.

The most impressive was Lee Marvin playing a violent killer who combined calm petty self-absorption with lying, and unconcerned matter-of-factness about his murders. He's just violently attacked a cop, is now handcuffed and about to be taken down to the station yet calmly says he wants to clean his teeth and expects the cop, who's still got a bloody face, to hand him the toothpaste and turn on the tap. He's not trying to wind the cop up, he just wants what he wants. During questioning he says that he's hungry, is taken to a cafe and carefully chooses a meal with a special salad. Once finished he is confronted with compelling evidence, and casually confesses to a string of brutal and almost motive-less murders, then calmly turns to a discussion of how a little salt is vital to fully enjoying lettuce. It's his last meal outside jail and probably not far from his last meal on earth yet he remains calm and self-absorbed. It is the perfect outline sketch of a psychopath.

Several sources have stated that Jack Webb really wanted to be a Los Angeles policeman. The height restrictions of that time period kept him from qualifying for his badge. It also has been said that "Dragnet" is the closest to reality of all the police shows ever made.